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'Juditk Blacttum 



PublisKed by 

"Jhe BLACKBURN COMPANY 
INDIANAPOLIS, INDIANA. 



THE 

Home Dressmakers' 

Guide 



Containing knowledge found to he of inestimable value 
during a lifetime of experience in Dressmaking and Tailor- 
ing, condensed, and given in a concise, practical way, that is 
comprehensive, simple and accurate. 



Written in answer to the pleas from thous- 
ands of women for a book containing the 
Course in Dressmaking aiad Tailoring as 
given in twelve lessons, and with the dia- 
grams and illustrations used throughout 
this four weeks' course. 



S3? JUDITH A BLACKBURN 

"The Right Way Is Always the Easy Way' 



(Publisher's Note: This course has been 
given in many large cities and attended by 
thousands of women among whom were 
Educators, Teachers of Home Economics, 
Professional Dressmakers, Home-Sewers 
and Students). 



Published by The Blackburn Company 
Indianapolis, Indiana 






Copyright, 1919. by 

THE BLACKBURN COMPANY 

INDIANAPOLIS. INDIANA 



r c o 



©CLA515734 



JUN -2 \m 





JUDITHA BLACKBURN 



TABLE OF CONTENTS 



CHAPTER I 

^ Pages 

Stitches -— : 1 

Even Bastings; Uneven Bastings; Diagonal Bastings; 
Running Stitch; Overcasting; Tailor Tacks; Back 
Stitch; Slip Stitch; Hemming Stitch; Tacking; Cross- 
Stitch; Chain Stitch; Binding; French Seams; French 
Felled Seams; Flat Felled Seams; Single Welt Seams; 
Double Welt Seams; Slot Seams; Smocking; Arrow- 
heads; Bound Button-hole. 

CHAPTER 11 

Measurements 15 

How to Dress Well and Becomingly. 

CHAPTER III 
Patterns— Skirt 20 

How to Select a Skirt Pattern : 

Proportioning of measurement; Applying measure- 
ments. Altering Pattern When the Hip Curve is Large. 
When One Side Measure More Than the Other; Altering 
a Skirt Pattern for a High Abdomen; Altering a Six 
Gored Pattern ; A Seven Gored Skirt ; A Gathered Skirt ; 
A Draped Skirt ; How to Cut a High Waist Line ; Alter- 
ing a Plaited Skirt Pattern; Trying on the Pattern; 
Designing Girdles and Yokes. 

CHAPTER IV 
Patterns— Waist 32 

How to Select a Waist Pattern; Purchasing a Waist 
Pattern; Applying Measurements to the Pattern; The 
Waist Line; The Bust Line; The Under Arm Altera- 
tion ; The Back Length Alteration ; The Armseye Alter- 
ation; The Neck Alteration; To Alter a Pattern for a 
Fitted Waist Lining ; Cutting a Drop Yoke. 

CHAPTER V 
Patterns — Sleeve 43 

How to Select a Sleeve Pattern; Applying Measure- 
ments ; The Bishop Sleeve Pattern ; The Length Altera- 
tion ; The Width Alteration ; Altering the Sleeve Pattern 
With Dart to the Elbow; The Width Alteration; The 
Length Alteration; Fullness for the Elbow; Sleeve 
Twisting; The Two-Piece Coat Sleeve; The Width Al- 
teration ; The Length Alteration. 



CHAPTER VI 

Pages 

Cutting and Making Skirts 53 

Threads for Basting; Pressing; Sponging and Shrink- 
ing; Setting Color; Placing the Pattern on the Cloth; 
The Grain of the Cloth; Bias; Allowing for Gathers; 
Matching Stripes or Plaids; Using a Pattern for a 
Plaited Skirt ; A Plaited Skirt Without a Pattern ; The 
Draped Skirt; Basting and Overcasting; The Placket; 
A Bound Placket; The Belting; Attaching the Skirt to 
the Belting ; Turning the Hem ; Basting the Hem ; Full- 
ness in the Edge of the Hem ; Facing a Hem ; Sewing the 
Hem; Turning an Even Hem. 

CHAPTER Vn 
Cutting and Making Blouses 70 

Finishing the Front of a Blouse ; The Box Plait Front ; 
The Slot Seam Front; Attaching the Collar; Finishing 
the Yoke; A Drop Yoke; The Kimona Blouse; Blouse 
With Drop Shoulder and Surplus Front; Blouse With 
Gibson Plait; Cutting a Blouse from li/^ yards of 36- 
inch material; Cutting a Flat Sailor Collar; Cutting a 
Rolling Collar. 

CHAPTER VHI 
Cutting and Making — Tlie One-Piece Dress 81 

Lining the Dress ; Making the Lining ; Sewing the Seams 
and Attaching the Dress; Sewing the Sleeves into the 
Armseye ; Building the Gown ; A Crushed Girdle ; Mark- 
ing the Finished Length; Making Sleeves; Preparing 
the Sleeve for the Cuff ; Attaching the Cuff ; Fininshing 
a Close Fitting Sleeve. 

CHAPTER IX 
Cutting and Making— The Tailored Suit 90 

Placing the Pattern on the Cloth; Cutting the Cloth; 
Marking With Tailor Tacks; Putting in Canvas; Bast- 
ing the Cloth on the Canvas; The First Try-on; Hair 
Cloth; Binding the Hair Cloth; The Back of the Coat; 
The Roll of the Lapel; Padding the Lapel; The Tape; 
How to Cut the Under Collar ; Padding the Under Col- 
lar ; Attaching the Under Collar ; Putting on the Facing ; 
The Upper Collar ; Finishing the Hem. 

CHAPTER X 

Cutting and Making— The Tailored Suit— Continued 104 

The Suit Coat Sleeve ; Basting and Making ; The Lining ; 
Putting in the Lining; Where to Place the Front Seam 
of a Sleeve in the Armseye; Attaching the Lining; 
Pressing; Making Butjton-holes ; Sewing on Buttons; 
The Amount of Cloth and Findings Required ; Pockets ; 
Draping. 



CHAPTER 1 

STITCHES 



How often I have heard women say: *'I would give a 
great deal to be able to sew nicely." And yet the ability to 
sew neatly, giving a workmanlike appearance to all seams, 
is not a gift but the result of painstaking effort. 

Any woman, young or old, may possess this accomplish- 
ment if she will faithfully persist in her endeavor to sew 
evenly and neatly and not be satisfied with stitches taken 
ill a haphazard manner. 

The appearance of the finished garment depends much 
upon the kind of stitches put into it. • AMONG the first 
and essential things the home dressmaker should become 
familiar with, upon taking up the actual work of dressmak- 
ing are the common stitches and seams; what they are 
termed and how they serve. Some of the most important 
ones follow : 

Bastings 

Bastings are temporary stitches put in to hold the fabric 
together until the finishing stitches can be made. Often in 
a vain attempt to save time, the home-sewer will substitute 
pins for bastings, or run up the seams upon the sewihg 
machine doing away entirely with any attempt at basting. 
This always results in loss of time in the end and invariably 
proves that ''haste makes waste." 

Even Bastings 



DIAGRAJM 1 



The Home Dressmakers' Guide 



Even Bastings, are longer than the running stitch, but 
are taken in the same manner. (See Diagram 1.) Do not 
take too long a stitch, if you do it is likely to slip and shove 
before the presser foot of your machine, causing endless 
difficulty. The even basting is the first stitch used in the 
construction of all garments and is used in all seams that 
are to be sewed with the sewing machine. 



Uneven Bastings 




DIAGRAM 2 

Uneven bastings are made by taking two small stitches 
and one long one. (See Diagram 2.) The uneven basting 
is used w^hen basting two pieces of cloth together, to hold 
them in place while w^orking on the garment. 

Diagonal Basting 




DIAGRAM 3 



Diagonal basting is always used when basting cloth on 
to the lining or canvass. The stitches are taken crosswise 
with the point of the needle toward you. You may w^ork 
from the right to the left or from the left to the right, 
which ever is the most convenient. These stitches may be 
taken any size according to where they are being used. 
(See Diagram 3). 



The Home Dressmakers' Guide 



Running Stitch 



DIAGB.\»I 4 

Running stitches are a succession of small stitches, the 
stitches and spaces in between being of equal length. (See 
Diagram 4.) - 

Overcasting 



DIAGRAM 5 



Overcasting is used to finish the raw edges of a seam if 
you are not going to bind it. Starting at the right hand end 
of the cloth, work toward the left, smoothing the threads 
of the material down with the left thumb and finger. Over- 
cast by taking one stitch at a tim.e, being careful not to 
draw the stitches too tight. (See Diagram 5.) 

Tailor Tacks or Trace Threads 

Tailor tacks or trace threads must be used if any gar- 
ment is to be put together accurately. Having chalked a 
design upon one side of the folded cloth, tailor tacks, or 
tVace threads will mark both sides alike'. You may also 
lay your pattern on the two thicknesses of cloth and follow 
the design marked upon the pattern taking the tailor tacks 



The Home Dressmakers' Guide 



through the paper and double cloth and thus marking both 
sides of the garment perfectly alike. Where two parts of 
a garment are to be joined together both should be plainly- 
marked with tailor tacks. Pockets, yokes, plaits, waist-line, 
and hip line should be outlined in this way. Where the hem 
is to be turned and wherever a mark for a guide is needed 
these tailor tacks should be employed. 




DIAGRA3I 6 • 

Using a double basting thread, proceed to baste through 
both thicknesses of cloth, alternating with one long stitch 
and two short ones. (See Diagram 6.) 

The long stitches may be an inch long and sufficiently 
loose to permit of a pencil or finger being slipped under 
them. Now cut through the middle of the long stitch, and 
separating the cloth slightly, clip the small stitches between 
the two pieces of cloth. You may now remove the paper 
pattern without tearing it and opening the cloth, you will 
find both sides marked alike. 

Back Stitch 




DIAGRAM 7 



The back stiteh is used when making garments by hand. 
Seams sewed with a back stitch will be firmer and stronger 
and can be made to look like sewing machine stitching. (See 
Diagram 7.) 



The Home Dressmakers' Guide 



Knot your thread and bring your needle through from 
the under side of the cloth. Then take the stitch by putting 
the point of the needle in above the first hole and bringing 
it out below the first hole, thus bringing the first hole in the 
middle of the stitch. (See Diagram 7.) 

Take each succeeding stitch back by putting the needle 
through the next to the last hole made and bringing it out 
below the last hole made by 'the needle. Take a small uni- 
form stitch. 



Slip Stitch or Blind Stitch 




diagra:vi 8 

The slip stitch is used when hemming or sewing on fac- 
ing or at any other part of the garment where stitches are 
to be made invisible. Knot the thread and bring the needle 
out from the crease of the fold of the hem, thus hiding the 
knot in the fold. Just catch a thread on the body of the 
cloth with the needle and run the needle back into the fold 
of the hem again hiding a long stitch in the crease of the 
fold and again bringing the needle out from the fold of 
the hem and just catching a thread of the body of the 
cloth. When the hem is pressed down the stitches are in- 
visible. (See Diagram 8.) 

When sewing on sheer material the best results are 
obtained by using a fine needle and, splitting the thread, 
use one strand only; When this is done the stitches are 
more easily made invisible. 



The Home Dressmakers' Guide 



Hemming Stitch 




DIAGRAM 9 



Diagram 9 shows a common hemming stitch. This stitch 
is used on any hem. 

Tacking Stitch 




DIAGRAM 10 



The tacking stitch is used when putting the lining into 
the jacket or at any part of a garment where the cloth is 
just tacked together and not sewed firmly. The tacking 
stitch is a back stitch and a long stitch or two or three back 
stitches, one on top of the other, and then a long stitch. 
This makes a stronger tack. (See Diagram 10.) 

Cross Stitch 




DIAGRAM 11 



The cross stitch is used in many places in the making 
and finishing of garments. It is used to finish seams and. 



The Home Dressmakers' Guide 



hems. It is also used in sewing the under collar on to the 
jacket. Begin at the left hand end of the seam and work 
:^om left to right. With the needle pointing to the left, 
(See Diagram 11,) take a short stitch at the top of the 
seam. Bring the needle down and toward the right and 
take another short stitch like the one taken at the top. This 
gives a long slanting, or diagonal stitch, between the two 
short stitches. Remembering to keep the needle pointing to 
the left, bring the needle up to the top of the seam and 
toward the right causing the second long diagonal stitch to 
cross the first, and take another short stitch. Working from 
left to right with the needle pointing toward the left you 
will have no difficulty with the cross stitch. 



Chain Stitch 




DIAGRAM 12 



The chain stitch can be used to finish hems or seams and 
is always used when sewing on the right side of the cloth. 
It is also used in making pretty designs on belts, collars or 
the yokes of blouses. In making the chain stitch work from 
right to left. Knot the thread and bring the needle through 
from the wrong side of the cloth at the right hand end of 
the seam. Next form a loop with the thread (See Diagram 
12) and take your stitch in the middle of the loop. Form- 
ing a second loop with the thread take the second stitch in 
the middle of the last loop at the same time forming a third 
loop. Continue to make stitches, each time throwing the 
thread in a loop and placing the needle back each time in 
the middle of the last loop stitch. Do not pull the thread 
tight as it will not make a nice looking chain if you do. 



The Home Dressmakers' Guide 



SEAMS 



Binding Seams 






DIAGRAM 13 

It is very necessary to bind seams if you are to have a 
well finished garment. When seams are not bound they 
should be overcast. If you are going to use the straight 
ribbon binding you will find it much easier to sew on if you 
will fold it in the centre and crease it with a warm flat 
iron ; it will also be easier to get the centre of the ribbon on 
the edge of the seam. It is better to sew the straight ribbon 
binding on by hand using a small running stitch and sewing 
it on from the right side of the seam. A bias binding may 
be sewed on A^ith the sewing machine. (See Diagram 13.) 



French Seams 




DIAGRAM 14 



French seams are used when making garments out of 
any sheer material such as crepes or voiles, and at any part 
of the garment where the seam can be seen through the 
material. French seams are desirable in blouses, dresses, 
childrens' clothes and lingerie — such as camisoles, combina- 
tions and gowns. 

First sew the seam on the right side of the garment by 
hand, using a small running stitch. Do not sew on the 
exact seam line using the full depth of the seam allowance 
but sew outside of the seam line. Next trim the seam off 
close to the stitching and turn the seam to the wrong side 



The Home Dressmakers* Guide 



of the garment. Then baste carefully on the exact seam 
line hiding the trimmed raw edges in the seam. (See 
Diagram IJ^.) Now sew the seam on the sewing machine. 
If the machine tension is tight and you are sewing on net 
or other thin material lay a piece of paper under the seam 
and sew through it, afterwards removing the paper. . 



French Felled Seam 




DIAGRAM 15 

Sew the seam on the wrong side of the garment the full 
depth of the seam allowance using a small running stitch. 
Then trim off one side of the seam close to the stitching. 
If there is a bias and a straight side to the seam trim off 
the bias side. Next fold the remaining side of the seam 
over the one that has been trimmed off and sew it on the 
sewing machine. From one side it will look like a binding 
and from the other side the stitches only will show. This 
makes a nice finish for a seam. (See Diagram 15.) 



Flat Felled Seam 




DIAGRA3I 16 

Sew just a common seam on the wrong side of the gar- 
ment with the sewing machine, sewing on the exact seam 
line. Then trim off one side of the seam close to the stitch- 
ing and turn the remaining edge of the seam in as you 
would for a hem, covering the stitching and trimmed edge. 
Tress this down flat on the body of the garment and stitch 
right through with the sewing machine. This may be 
hemmed down by hand. (See Diagram 16.) 



10 



The Home Dressmakers' Guide 



Sinirle Welt Seam 




DIAGRAM i: 



Sew a common seam on the wrong side of the garment 
with the sewing machine, sewing on the exact seam line. 
Press the seam flat on the wrong side of the garment using 
the entire seam allowance and baste it down carefully. 
Then turning the garment right side up put in one row of 
sewing machine stitching. This seam may be finished any 
desired width according to the prevailing style. (See Dia- 
gram 17.) 



Double Welt Seam 



e." 




DIAGRAM 18 



Proceed in the same way as for the single welt seam 
putting two rows of sewing machine stitching on the right 
side of the garment. (See Diagram 18.) 



The Home Dressmakers' Guide 



11 



Slot Seam 

A slot seam is made 
by laying the two edges 
of the cloth together 
with the seams turned 
under reinforced beneath 
with another strip of 
cloth as shown in Dia- 
gram 19. 



SLOT SEAM 



DIAGRAM 19 




Smocking 




DIAGRAM 20 



First decide on the design and de- 
termine the amount of fullness to be 
held in. Next mark with small dots, 
one-half inch apart, the depth of the 
tucks desired to hold in the fullness. 
(See Diagram 20.) Then placing the 
first two tucks together, sew them at 
the dots. Sew the first dots together 
taking two or three stitches to form a 
knot. Then slip the needle under on 
the wrong side of the cloth and skip- 
ping one dot join the tucks together at 
the third dot. Continue to sew at every 
other dot until the full length of the 
design is finished. Then bring up an- 
other tuck and sew it to the last tuck 
only and at the dots that were skipped. 
Place one tuck after another sewing 
only to the last one and at every other 
dot until the design is completed. (See 
Diagram 21.) 




DIAGRAM 21 



12 



The Home Dressmakers* Guide 



Arrow Head 




DIAGRAM 22 



ARROWHEADS are used consid- 
erably for trimming, finishing plaits, 
darts, ends of pockets and at many 
other places. They are made in the 
following way : First outline the size 
desired with the button hole twist or 
the embroidery silk you are going to 
use. This outline in the form of a 
triangle may be one-half inch wide at 
the base and one inch long at the 
sides. (See Diagram 22, No. 1.) Now 
bring the needle through from the 
wrong side of the cloth at the lower 
right hand corner and bring it up to 
the point and put it through to the 
wrong side again just at the left of 
the point of the triangle. Bring the 
needle through from the wrong side 
of the cloth just at the right of the 
point of the triangle and put it 
through to the wrong side again at 
the lower left hand corner of the out- 
line. Continue in this manner until 
the outline is all filled in leaving only 
the two lower corners. (See No. 3, 
Diagram 22.) 



Bound Button Hole 



When a slash is made in a girdle, through which to put 
the ends, the slash can be finished like a bound button hole. 
Often a slash is made at the waist of a garment and the sash 
is brought through these slashes. They also can be finished 
in the same manner. At many places slits are made to run 
ends through, these all may be finished like a bound button 
hole. The first thing to do is to ascertain the size of the 
button hole required. This is obtained by placing the but- 
ton to be used on the cloth and marking the diameter of the 
button with chalk on the right side and follow this line with 
small basting stitches, giving the length of the button hole 
on the under side of the cloth. The diameter of the button 



The Home Dressmakers' Guide 



13 



is the length required for the button hole. (See "A'', Dia- 
gram 23.) 



Then place the piece of cloth to be used for the bind- 
ing over the mark made for the diameter of the button. 
Have the right side of the cloth for the binding next to the 
right side of the cloth of the garment. Then mark the 

length of the button hole on the 
wrong side of the binding by us- 
ing small basting stitches, tak- 
ing these stitches through both 
the cloth and the binding. (See 
"B'\ Diagram 23.) 

Next, determine the width of 
the binding that is to show from 
the right side of the garment 
when the button hole is finished. 
Then sew with the sewing ma- 
chine a single row of stitching, 
one above and one below the 
mark made for the button hole 
and also at both ends. (See "C\ 
Diagram 23.) 

The distance between the 
mark for the button hole and 
the rows of sewing machine 
stitching is the amount the 
binding will show. One-fourth 
of an inch between the two 
rows of sewing machine stitch- 
ing will make a good look- 
ing binding. Now cut the but- 
ton hole with the scissors fol- 
lowing the marked length, but 
do not cut the button hole the 
entire length of the stitching, as that would spoil the button 
hole. Cut up to within one-fourth inch of each end and 
mitre from this line to each of the four corners. The corners 
are mitred by cutting with the scissors as shown at ''/)'' 
Diagram 23. 




DIAGRAM 'S.i 



14 The Home Dressmakers* Guide 



The last proceedure is to pull the binding through the 
button hole to the wrong side of the garment. Turn the 
binding evenly over the edge of the button hole, being care- 
ful not to turn any of the body part of the button hole v^ith 
the binding. It is just the binding that is pulled through 
and turned over the edge of the button hole. None of the 
body part of the garment must be pulled through (See ''E" 
Diagram 23.) 

Fasten the binding that has been pulled through 
down to the cloth of the garment on the wrong side. 
Do this neatly by hand. Do not put any sewing machine 
stitching on a bound button hole when it will show on the 
right side of a garment. Press the binding with a warm 
flat iron. When using sheer material and a slash is to be 
made for the sash or for trimming, hemstitching may be 
used instead of binding. When this is the case have the 
hemstitching the length desired for the slash and clip it in 
the centre as for picotting. This will look more dainty than 
binding. 



The Home Dressmakers' Guide 



15 



CHAPTER II 



MEASUREMENTS 



The proper place at which to start to make a garment 
for yourself is at your own measurements. First take the 
necessary measurements correctly and then apply them to 
your pattern, altering your foundation to fit you, and you 
have robbed dressmaking of most of its annoyances. It will 
be readily understood that these measurements must be ac- 
curate and judgment used in taking them. If, for instance, 
you take a measurement too snugly, the garment will doubt- 
less be too tight. It is better, however, to take measure- 
ments a little loose rather than too snugly, as it is easier 
trimming off than piecing on. It is also necessary to have 
an accurate tape measure. Test your tape carefully and if 
it is not correct do not use it, get a new one. 

Fasten a tape around the natural waist of your model, 
for a waist line, from which to take measurements. This 

may of course be dis- 
pensed with when you 
shall have become pro- 
ficient in gauging with 
the eye. 

C 1 o s ely following 
diagram 1, you will 
now proceed, writing 
down each measure- 
ment as you take it. 
1. — For Neck Meas- 
ure. 

Measure around the 
base of the neck; that 
is, at the line where it 
joins the body. 
2. — Shoulder. 

Measure just back 

of the crest of the 

shoulder, from the 

base of the neck to the 

DIAGRAM 1 tip of the shoulder. 




16 The Home Dressmakers' Guide 



3. — AroKud Bust. 

Place the tape measure around the largest part of the 
bust, close up under the arm and across the shoulder blades, 
in a straight line to the center of the back. Standing di- 
rectly in the rear of your model, hold the union of the tape 
measure, that is, as you bring it together, firmly between 
the forefinger and thumb of the left hand, while with your 
right, thus freed, you run the forefinger* under the tape 
from back to front, to ascertain the proper amount of full- 
ness required. This then gives you what is called the Bust 
Line, w^hich, with the Waist Line already determined, are 
important in the ascertainment of other measurements. 
4. — The Front Measurement, 

Is taken from the base of the neck in front down to 
the waist line. 

5. — Length Under Arm. 

From the armpit (not too high to fit overly snug when 
waist is completed; exercise a little judgment in this re- 
gard) straight down to the waist line. 
6. — Length of Back. 

From the bone at the base of the neck behind, straight 
down to the waist line. 
7. — Around Armseye Measurement. 

Starting from the tip of the shoulder, around under the 
arm and back to the tip of the shoulder. This armseye 
measurement should be neither too tight nor too loose. Use 
discretion to secure comfortable arm action. 
8. — Sleeve from Shoulder to Elbow. 

From the shoulder, with arm slightly bent, as in dia- 
gram 1, and from where the line for the armseye was taken, 
to the tip of the elbow. 
9. — From Elbow to Wrist. 

From the tip of the elbow, just taken, to the bone or 
lines of the wrist. In taking this bend the elbow slightly. 
10. — Around Elbow. 

Bend the arm slightly and take the measurement around 
the elbow. It will be noted that this measurement must 
be greater than if the arm had been held straight. 

11. — Around Hand 

Now holding the thumb straight inside of the hand, 
measure around the largest part of the hand. 



The Home Dressmakers' Guide • 17 

12. — Inside Length. 

With the arm extended at a height, in line with the 
shoulder, and pointing almost, but not quite, directly in 
front of the person, take the inside measurement from the 
body, where the line of the armseye was taken, to the waist 
line. This length, it will be noted, should be less than the 
combined outside measurements. 

13.— Waist. 

Take this measurement around the waist line, and as 
tightly as you desire the finished garment. 

14. — Hip Measurement. 

Next take the circumference at the largest part of the 
hips, and as loosely as desired in the finished garment. 

15. — From Waist to Hip Line. 

This measurement is taken at the side, from the waist 
line straight down to the hip line. 

16. — Length of Front. 

From the waist line measure directly in front, the dis- 
tance to the floor. 

17. — Right and Left Sides. 

Right and left sides from waist line to floor. 

18. — Back Length. 

Lastly, from the waist line to the floor, directly in the 
back. 

It is possible by standing before a mirror to take one's 
measurements following the above rules. By fastening 
a weight to your tape measure, while standing erect, you 
may easily take your own skirt length measurement, from 
the waist line to the floor. 



NOTE : — In determining the length of the skirt when 
finished, subtract from these four length measurements the 
number of inches it is desired to have the skirt from the 
floor. 



18 The Home Dressmakers' Guide 



HOW TO DRESS WELL AND BECOMINGLY 

I am now talking to the woman with a moderate in- 
come and yet finds it necessary to look well dressed. 

First, decide how much you can spend on your gown. 
It may be that you can only have one gown in a year. If so, 
my advice is, and always has been, to have the best material 
you can afford. 

Next, choose a medium style, and have it well made. I 
have known women who always looked well dressed and yet 
they had but one tailored suit, one becoming afternoon or 
evening gown and a few good blouses, in a year ; in fact, I 
have known somfe of them who wear their tailored suit two 
or three years. I have heard these women say, "I cannot 
wear my suit out ; it is just as good as the day it was made." 
The reason for this was, good material, medium style and 
well made. 

If you have never made a study of the lines of your own 
body, or the shape of your face and the color of your hair 
and eyes, it will be well for you to begin now, because these 
have much to do with the style of your gown and the colors 
you should wear. 

It is a pity, with the beautiful colorings and variety of 
style we have at the present day, for any woman to be 
unbecomingly dressed; for, do you know, it matters not 
whether it is calico or silk, if the colors and design are 
becoming you will look well dressed. 

The long, thin face should never, never wear a pointed 
or a V yoke ; not even a V opening in the blouse ; they make 
the face look just as long again. The long, thin face should 
always select a round or square yoke, a round or square 
collar, or, if style will permit, a standing collar as high as 
can be comfortably worn. 

Just imagine, if you can, a woman with a large round 
face or square jaw wearing a square or round yoke. Her face 
would look more than ever broad and masculine. She must 
have the V yokes and pointed vests. If she wears a collar 
it should be pointed. If a standing collar is worn it must 



The Home Dressmakers' Guide 19 

be small. A bit of lace wired at the back of the neck is a 
good suggestion. 

"Oh!" but you will say, **I have no imagination; I can- 
not see myself dressed up like the picture." If you cannot 
see yourself in the picture, begin to study in this way: 
When you meet women who appeal to you as being well 
dressed, and they are tall and slender, or short and stout, 
as you are, recognize the perfect lines that make the gown 
becoming. Notice the artistic drape and say to yourself: 
'That lady is just about my size ; her coloring is like mine ; 
I would look well in a gown like that." I do not mean for 
you to copy, but to study others that you may develop 
originality, and this well help you. You will find it a very 
interesting study and you will soon be surprised how easily 
you can plan a becoming gown for yourself. 
Colors 

Colors also play an important part. Let us talk about 
the color of your hair and eyes and suggest what would be 
becoming. "Oh, dear!" I can hear some one say, "I suppose 
my next gown will be blue; I have worn blue all my life. 
I would so like to have a change, but I do not know what 
color to choose." 

If you have blue eyes and blond hair you can wear to 
advantage black, black and white, lavender, golden brown, 
tobacco brown, royal purple, wistaria shades, old rose toned 
with black, dark green, bottle green, grass green, emerald 
green, some shades of gray with a touch of blue to bring 
out the color of the eyes; rather select the color that will 
add strength and tone to the color of both your hair and 
eyes. l?^ ^vgl 

If you have blue eyes and dark hair you can wear 
greens, grays, yellow, red and soft pastel shades. Just a 
touch of blue will sometimes bring out the color of the eyes 
if your complexion will permit you to wear blue. The bru- 
nette with the dark eyes will look her best in red, tan, corn 
colors, gold and silver nets, gray toned with red or gold, 
and rose toned with black. Navy blue may also be worn. 

A little study, a careful selection of colors and every 
woman can be so gowned as to bring out the charms nature 
has blessed her with. 



20 The Home Dressmakers' Guide 

CHAPTER 111 

PATTERNS— SKIRT 



How to Select a Skirt Pattern 

In selecting a pattern for a skirt the lines of the indi- 
vidual should be studied. Regardless of the prevailing 
fashion one should select a becoming style, one that will 
add beauty to the figure -and not accentuate the defects. 

The large, stout v^^oman should have lines that will de- 
tract from her size and give the appearance of length. We 
talk a great deal about lines — perfect lines, beautiful lines — 
w^hen lines are nothing more than seams in the proper place 
on the body. Seams therefore give lines. Plaits some- 
times give lines where they are needed, and trimming in 
just the right place will add much in securing the desired 
effect. 

A well-proportioned panel is always becoming to a stout 
person as it detracts from the width and increases 
the appearance of length. A slightly raised waist line is 
also good in securing this effect. A two or three-piece skirt 
should seldom be worn by a large woman. A gored skirt is 
better, as it gives the lines so necessary for the stout figure 
if the skirt is to be becoming. There are many styles that 
may be worn by stout figures, adding grace and not ac- 
centuating defects. 

A tall woman can wear skirts with yokes and plaits. 
Drapes are also becoming. A small, slender woman can 
wear the more simple styles. Gathered skirts look well on 
small, slender figures. Styles should be selected that will 
increase the appearance of height and not detract from it. 

When purchasing a pattern for a skirt select the 
size from the hip measurement rather than from the 
waist, as the size at the waist is easier altered than at 
the hip. If you cannot get a pattern the exact size of your 
hip measurement, it is better to take a pattern that is large 



The Home Dressmakers* Guide 21 

rather than a smaller size, as it is easier to decrease the 
size of the pattern when altering it than it is to increase it. 

The skirt pattern should be measured and altered to fit 
the individual perfectly before the cloth is cut. If all altera- 
tions are made in the pattern there is no wasting of ma- 
terial and very little fitting after the skirt is cut out. 

Proportioning of Measurements 

It is of the utmost importance that the skirt should be 
proportioned properly for the individual. The seams must 
come in the right place if the skirt is to look well. To do 
this it is necessary to divide the waist and hip measure- 
ments, getting the half and the quarter of them. An easy 
way to do this is to take your waist or hip measurement 
and then fold the tape, getting just the half, then folding 
the half and getting the quarter. It may be that this 
division will not bring the side seams exactly at the half of 
you, owing to the amount of flesh in front. Should this be 
so, place a pin exactly at the center of the right and left 
side, where the side seams should come, and measure 
from pin to pin for the front, and from pin to pin 
for the back. Divide these measurements by folding 
the tape and you have proportioned your measure- 
ments correctly for a two, three or four-piece skirt. 

If one side is very much larger than the other you can 
place a pin at the center front and center back and measure 
from pin to pin, dividing the measurement in the same way. 
This will enable you to apply your measurements to the 
pattern and have the seams just where they should be. 

For a skirt with an uneven number of gores, like a 
seven-gored skirt, you subtract from your waist, hip and 
bottom measurements the number of inches you are using 
for your odd gore, or panel, and divide the remainder by six, 
the number of remaining gores. This rule will apply to any 
number of gores. The width at the bottom of the skirt may 
be divided evenly for a two, three or four-piece skirt. For a 
skirt with seven or more gores it is sometimes better to di- 
vide the width at the bottom so that the second gores will be 
slightly wider than the first, and the third gores slightly 



The Home Dressmakers' Guide 



wider than the second. (See diagram for seven-gored 
skirt.) 

Applying Measurements to the Pattern 

First we will take the plain two-piece skirt. Divide the 
waist measurement by four, getting one-fourth of your 
waist measure. Also divide the hip measurement in the 
same way. Also get one-fourth of the desired width for the 
bottom of the skirt. Take the four length measurements 
and subtract from these the number of inches you want 
the skirt from the floor when finished. You are now 
ready to measure your pattern and apply your own meas- 
urements to it. We will assume measurements for a skirt 
and apply them to a pattern and you may substitute your 
own measurements for those assumed. 



Assumed Measurements 

Waist 24 

Hip 40 

From Waist Line to 

Hip Line 7 



To floor 

Length of front 41 

Length of right side.— 4II/2 

Length of left side 411/2. 

Length of back 42 







The Home Dressmakers' Guide 23 

Having divided the 24-inch waist measurement by four, 
you get 6 inches, one-fourth of the waist. Now place the 
tape measure on the waist line of the pattern, measuring 
from the center front to the side seam, and make a pencil 
mark at 6 inches. (See "B," Diagram 1.) This is one- 
fourth of your waist measure on the pattern, but when the 
pattern is placed on the folded cloth, and the front half of 
the skirt is cut, you will have 12 inches, one-half of your 
waist measurement. 

Next measure from the waist line down along the side 
seam 7 inches, to determine where the hip line should^ be 
on the pattern. (This measurement was taken at the side, 
down to the largest part of the hips. You will therefore 
measure down at the side seam and have the hip line par- 
allel the waist line.) If the distance from the waist line to 
the hipe line given on the pattern is too long, lay a tuck 
in the pattern, making it the required length. If the (dis- 
tance given is not long enough, cut the pattern across and set 
in a piece of paper, making it the length desired. (See the 
cross line marked ''C in Diagram 1.) 

Do this on both the front half and the back half of the 
pattern. When the hip line has been located upon the pat- 
tern, measure from the center front at the hip line to the 
side seam and make a pencil mark at 10 inches, which is 
one-fourth of the assumed hip measurement. In the same 
manner measure 10 inches from the center back to the side 
seam on the back half of the pattern and mark with a pencil 
upon the pattern. Now draw a line like the dotted line 
marked *'A" in Diagram 1 for increase of size and like **B'' 
for decrease of size. 

Assuming that you want the skirt 5 inches from the 
floor when finished, subtract 5 inches from the front length 
measurement, leaving 36 inches for the front length of the 
finished skirt. Five inches from 411/2^ the side length, will 
leave 36V2 for the finished skirt. Five inches from 42, the 
back length, will leave 37 for the back length of the finished 
skirt. 

Now place the tape measure on the center front of 
the pattern and measure from the waist line down to the 
line where the hem is to be turned. Also measure for the 
side length. If the pattern is too long, lay a tuck in the 
pattern half way between the hip line and the bottom, 
making it the desired length. (See "D," Diagram 1.) 

If the pattern is too short, cut it at the same place and 
paste in a piece of paper, making it the length required. 



24 The Home Dressmakers' Guide 



Measure and alter the back half of the pattern in the same 
way. Allowance must be made below the finished length for 
a hem. Three and one-half inches will make a three-inch 
finished hem. 

If the desired width at the bottom is two yards, 
one-fourth of two yards will be 18 inches. If the front 
half of the pattern measures 18 inches at the bottom 
it will give one yard, half the desired width, when placed 
on the folded cloth. The back half of the pattern measur- 
ing 18 inches would likewise give one yard when the cloth 
was cut double. 

Should the desired width at the bottom be more 
or less than two yards, divide by four in the same 
w^ay and distribute the width evenly between the front and 
back half of the skirt. You will find that an even division 
of the width at the bottom of a skirt will always work out 
satisfactorily for a two, three or four-piece skirt. 

An Uneven Division of Measurements 

Sometimes we find a woman who measures more in the 
front (that is, from side seam to side seam) than she does 
in the back. For this particular figure we make the front 
half of the skirt larger at the waist line than the back half. 
The hip line also must measure more for the front than for 
the back. 

We will assume the waist measurement is 30 inches. 
Instead of putting 15 inches in the front half of the 
skirt and 15 inches in the back, we will put 17 inches 
in the front and 13 inches in the back. If such a figure 
requires one or two inches more in the front half of the 
skirt than in the back, either at the hip line or at the waist 
line, subtract the amount required from the back half and 
add it to the front half. 

As a rule we do not subtract from the back and add to 
the front the same amount for the hip that we do for the 
waist. I find different figures require different lines, but 
when adding two inches to the waist line for the front half 
of the skirt, one inch added to the hip line is usually suffi- 
cient. One must be very careful with the side lines of a 
skirt ; it is so easy to sew them up and have the seams bulge 
or draw crooked. 

When making alterations on the side lines of the pat- 
tern, it is advisable to lay a yard stick on the pattern and 
mark with a pencil a perfectly straight line from the hip 
line down to the bottom of the pattern, thus avoiding the 
alterations on the side seams after the cloth has been cut. 



The Home Dressmakers' Guide 



25 



Altering a Pattern when the Hip Curve Is Too Large 

Although it is always 
best to get a skirt pattern 
the size of the hip meas- 
urement, yet you may have 
one that fits at the waist 
but the hip is too large. If 
you attempt to make the 
alteration by taking the 
curve off at the side seam 
you may get into difficulty. 
It is better to increase the 
waist line. 

Measure your pattern at 
the hip line to see how 
much too large it is for 
you and add to the waist 
line the number of inches 
that the hip line is too 
large. (See dotted line 
marked ''x" in Diagram 2.) 

This will make both the 
waist and the hip of the 
pattern too large, but will 
retain the proper pro- 
portion. Now if the width 
at the bottom is just right 
lay a plait in the pattern 
as shown in Diagram 2, 
taking up the amount that 
the pattern was large. 

If the width at the bot- 
tom of the pattern is greater than you desire, continue the 
plait to the bottom, taking out the amount required. If it is 
necessary to shorten a pattern by laying a tuck between the 
hip line and the bottom, a jog will appear at the side as 
shown at ''A'' in Diagram 3. 

It will be necessary to place a yard stick on the pattern 
from the hip line to the bottom and straighten out the side 
line on the pattern. You can increase the width at the bot- 
tom of the pattern in the same way. (See Diagram 3.) 
To decrease the width lay a plait in the pattern from the hip 
line to the bottom. (See dotted lines marked ''B" in Dia- 
gram 3.) 

You will remember that the pattern is being altered to 
the size desired for the finished skirt. All seams and hems 
must be allowed in addition. 

Having thus far studied the application of measure- 
ments to a pattern, you will readily see how necessary it is 




DIAGRAM 2 



26 



The Home Dressmakers' Guide 



that the measurements of the individual be applied to the 
pattern. 



All patterns are cut 
to model proportions and 
vei*y few women will find 
her measurements pro- 
portioned exactly the 
same as the model. 

A three and four piece 
pattern would be altered 
just the same way as the 
two piece pattern. Any 
skirt, having a two, 
three or four piece foun- 
dation, can be altered to 
fit the individual in this 
way. The yokes, girdles, 
pockets or any design 
that has been added to 
the foundation may be 
arranged to conform to 
the altered dimensions 
and carry out every de- 
tail created by the de- 
signer. 




DIAGRAM ;$ 



When One Side Measures More Than the Other 

It often happens that one side length measurement is 
longer than the other. This can be taken into considera- 
tion when the pattern is being altered. Allow for this 
extra length above the waist line. (See dotted line marked 
D on Diagram 3.) You can make allowance when placing 
the pattern on the material. Cut both sides alike to the 
longest length and trim off the short side afterward. 

Altering a Skirt Pattern For a High Abdomen 

It should be remembered that the hip line is the balance 
line for a skirt. If the front-length measurement is longer 
than the back, as is often the case and always when the 
abdomen is high, the extra length must be added at the top, 
above the hip line, never at the bottom. (See X in Dia- 
gram U, showing the extra length added at the top and 
tapering off toward the back.) 



The Home Dressmakers' Guide 



27 



When a Skirt "Hikes" In Front 

When a skirt has a 
tendency to hike up in 
front it is because the 
skirt has been cut too 
low in front at the waist 
line. To remedy this 
fault it is necessary to 
increase the length of 
the pattern in the front 
at the waist line, adding 
a little to the sides and 
tapering off to nothing 
at the back. (See Dia- 
gram 4-J 

Altering a Six Gored Skirt 




DIAGRAM 4 




If, when making a gored skirt, there is to be a panel 
in the front or back, this panel must be proportioned for 
the individual. A panel that is too narrow will not look 
well upon a large women ; the panel should be proportioned 
to the width of the gores. A narrow panel with wide 
gores will not look right. Regardless of prevailing style 
the gores and the panel must be proportioned to give the 
correct lines on the body. 



When applying individual measurements to a six-gored 



28 



The Home Dressmakers' Guide 



skirt pattern and the waist measures more or less than the 
waist line of the pattern, do not make any change in the 
panel or on the side of the gore next to the panel. Always 
make the alteration for increase or decrease of the waist or 
hip line at the side seam. (See dotted lines in Diagram 5, 
"A" for decrease of size and ''B" shoiuing the size in- 
creased.) 

If the length of the pattern from the waist line to the 
hip line is less than you measure cut the pattern across as 
you did for the two-piece skirt and set in a piece of paper. 
If it is too long, fold a tuck in the pattern at the same place. 
(See "D" Diagram 5.) 

Likewise make the alteration for the finished length 
of the skirt as you did for the two-piece skirt. (See 
*'X" Diagram 5.) Allowance must be made below the fin- 
ished length of the skirt for a hem. 

A SEVEN-GORED SKIRT 




diagba:vi 6 



In all gored skirts having an uneven number of gores, 
the odd one is placed in front. Thus, when cutting, mark 
it out first, making it any width desired, according to the 
size and style you have selected. For instance, a large or 



The Home Dressmakers' Guide 29 

stout woman should have a wider front gore than a woman 
possessing a slender figure. 

On the other hand, the prevailing styles, regardless of 
size, may dictate a wide or narrow front panel. No fixed 
rule, therefore, may be laid down in this respect. 

When a suitable front gore or panel has been marked out 
and cut, subtract from the waist, hip and bottom measure- 
ments the number of inches used for the waist, hip and 
bottom of the front gore or panel. 

Divide the remaining number of inches at the waist and 
hip by the remaining number of gores to be provided for, 
which in this instance is six, and you will have the individ- 
ual size of each. The bottom widths of the remaining num- 
ber of gores should be proportioned as shown in Diagram 6. 

A Gathered Skirt Pattern 

A pattern for a straight gathered skirt can be regulated 
only in length and that can be done at the bottom of the 
pattern. 

A Draped Skirt Pattern 

A draped skirt pattern can only be altered in length and 
this may also be done at the bottom of the pattern. If 
there are to be Cascade drapes sewed into the seams they 
must also be altered in length in proportion to the altera- 
tion made for the length of the skirt. 

How To Cut a High Waist Line 

Sometimes a high waist line will 
be more becoming than the natural 
waist line given on the pattern. The 
high waist line may be added in the 
following way: Measure the num- 
ber of inches you desire the waist 
line raised above the natural waist 
line and draw a line parallel to the 
natural waist line and extending one- 
half inch beyond the natural waist 
line on each side. Curve to the natur- 
al waist line as shown in Diagram 7. 




{)i.\(;k.\m 



30 



The Home Dressmakers' Guide 



Altering a Plaited Skirt Pattern 



V^A15 



First you lay the plaits 
in the pattern following 
the perforations and de- 
termine how it is going to 
fit. 

If it is too small let 
out each plait sufficiently 
to give you the required 
amount. Be careful to have 
each plait a uniform size. 
If it is too large lap each 
plait enough to make the 
pattern fit and pin the 
plaits carefully. 

Measure the pattern for 
the finished length of the 
skirt and mark with a pen- 
cil the line where the hem 
is turned and also the hem 
allowance. 

Then draw a line with 
the pencil on the pat- 
tern along the edge of each 
plait, and another line on 
the plait, just at the fold 
where the plait was turned. 
(See Diagram shoiving thei 
dotted lines where the 
plaits are marked. 

The dotted line "A" 
shows the mark on the 
plait and "B*' shows the line along the edge of the 




DIAGRAM 8 



plait.) 



Trying On the Pattern 

After the individual measurements have been applied 
to the pattern and the alterations have all been made in 
the pattern, pin the pattern together for a try-on. Always 
pin the seams on the outside of the pattern as it is easier 
making alterations, if further alterations are necessary, if 
the seams are pinned on the outside. 

It will also help if a tape, the size of the waist measure- 
ment, is folded exactly in half and the center front line of 
the pattern pinned at one fold and the center back line of 
the pattern pinned at the other fold of the tape. The pat- 
tern can then be fastened to the tape at the waist line with 
a few pins. This will help in the fitting, keep the pattern 
from tearing and be a great help in determining the amount 
of alteration necessary at the side seams. 



The Home Dressmakers' Guide 



31 



Designing Yokes And Girdles 

There are many pretty girdles and yokes that may be 
added to the skirt, or changed to suit the individual, with- 
out getting another pattern. When the foundation has 
been fitted to you, lay a piece of tissue paper on the pattern 
and outline yokes or girdles, copying the picture or creating 
the design yourself. Just a suggestion of how this is ac- 
complished is given in Diagrams 9, 10 and 11. 




DIAGRAM 9 




DIAGKA:M 10 




DIAGRAM 11 



32 The Home Dressmakers' Guide 

CHAPTER IV 

PATTERNS— WAIST 



How To Select a Waist Pattern 

While the lines in a skirt should receive the most con- 
sideration when selecting a pattern, because they have 
more to do with the appearance of being well fitted and 
becomingly gowned than have the lines of the waist, yet, 
care and thought should be bestowed upon the selection of 
the waist pattern. 

What will be beautiful on one will not become another. 
Perhaps the gown worn by your friend, and so greatly ad- 
mired would not look well if worn by you. Study the con- 
tour of your face and the size of your shoulders and above 
all take into consideration the length of your arm. 

If your arm is long keep away from an unbroken 
length in the sleeve pattern and avoid cuffs that flare or 
give points over the hand. Likewise if your arm is short 
study to add the appearance of length. Do not break the 
length lines of the sleeve pattern and add cuffs that taper 
over the hand. 

V necks should be worn by one whose face is broad 
and round and square yokes by the lady with a long thin 
face. The short stout woman should not wear trimming 
and yokes that will add to the breadth of her figure and 
the tall thin lady should avoid lines that contribute to her 
highth. 

When Purchasing a Waist Pattern 

The pattern must be selected according to the bust 
measurement. If the correct size is not obtainable, choose 
the larger size rather than a smaller one ; it is always easier 
to decrease the size of a pattern than it is to increase it. 

Applying Measurements to the Pattern 

The application of individual measurements to the waist 
pattern is one of the most important features pertaining 
to home-dressmaking. Without this knowledge the making 
of a garment is a difficult task and very discouraging to 
most beginners. 



The Home Dressmakers' Guide 



33 



When one has learned to measure the pattern, substi- 
tuting ones own measurements where they differ from 
those of the model, and making the alterations on the 
pattern, there is little or no fitting and seldom an al- 
teration after the garment has been cut out. When the 
alterations have all been made pin the pattern with the 
seams on the outside and try it on. 

APPLYING THE MEASUREMENTS 



The Waist Line 




DIAGRAM 1 



First, identify the wait line upon the pattern; this line 
is usually marked with perforations. Using a yard stick 
for a guide, draw a pencil line straight across the pattern, 
marking the waist line plainly. Do this on both the front 
and the back half of the pattern. (See the line marked 
''Waist Line'' in Diagram 1.) 

Then starting at the center front, one-half inch below 
the straight line just drawn, draw a line on the front half 
of the pattern like the dotted line in Diagram 1. 

Starting at the center back, one-half inch above the 
straight line, draw a line on the back half of the pattern 
like the dotted line in Diagram 1. 



34 



The Home Dressmakers' Guide 



This dotted line gives one-inch raise from the center 
front to the center back and is the proper angle for the 
waist line, giving the correct line for the average figure. 
It is the line to be used hereafter as the waist line. 



All length measurements for the waist must be meas- 
ured from this waist line up. It is very important that the 
individual length measurements be applied to the pattern 
from the waist line up. If, when measuring the pattern, 
from the waist line at the center front up to the base of 
the neck, the individual measures more than the pattern, 
it is very necessary that the length be added above the waist 
line. Especially is this so if the garment extends below the 
waist line. If the needed length from the waist line to the 
neck is not added above the waist line the garment will 
draw up in the front or pull down in the back. This is 
also true of the back. Measure from the waist line at the 
center back up to the neck of the pattern; any addition to 
the length of the pattern must be added above the waist 
line. 

The Bust Line 




DIAGRAM 2 



Having found and marked the correct waist line you are 
now ready to locate the bust line. 



The Home Dressmakers' Guide 



35 



For this once measure down from the neck of the pat- 
tern at the center front. (See ''A" Diagy^am 2) and mark 
with pencil where your bust line should come on the pattern. 

(See line mo.rked "Bust Line" in Diagram.) 

Draw a line on your pattern like the line marked ''Bust 
Line" in Diagram 2. This line should be one inch below the 
armseye at the under-arm seam. Continue this line across 
the back half of the pattern. 

You will remember that this line crosses the shoulder 
blades at the back. The line on your pattern should there- 
fore be drawn to correspond to the bust line in Diagram 2. 
(Read again the instructions for taking measurement Num- 
ber 3, in Chapter 2.) You will have no difficulty in locat- 
ing the correct bust line for you at the center front of the 
pattern, and following these instructions, with Diagram 2, 
you will be able to mark a bust line across the front and 
back half of your pattern that will be accurate enough for 
all purposes. 

The designer, when planning the pattern has taken 
into consideration the fullness needed for the differ- 
ent garments at the bust line, and has made all the allow- 
ances accordingly. It is therefore not necessary to apply 
individual bust and waist measurements to the pattern for 
a blouse, dress or coat. These measurements are applied 
for a form fitted garment only. 

The Under- Arm Alteration 




DIAGRAM 3 



30 



The Home Dressmakers' Guide 



After marking the bust line the next measurement to be 
applied is the under-arm measurement. Measure up from 
the waist line on your pattern to the armseye. (See ''A" in 
Diagram 3.) 

If the pattern is too short for you it may be be- 
cause the armseye has been cut too low. If this seems 
to be the case build up the armseye by adding a piece of 
paper just so shown by the dotted line marked '*B", in 
Diagram 3. Do this on both the front and the back half 
of the pattern. If the armseye does not seem too large, and 
you need to increase or decrease the length from the waist 
line to the armseye, (See "A-A" Diagram 3,) split the pat- 
tern across and set in a piece of paper, making it the 
length required, or fold a tuck across the pattern to de- 
crease the length. (See ''E, E." in Diagram 3.) 



The Back-Length Alteration 



When the under-arm meas- 
urement of the pattern has been 
tested, and, if necessary, al- 
tered, the next measurement to 
apply is your back length. Meas- 
ure from the waist line up to the 
back of the neck of the pattern 
at the center back. (See "Length 
of Back" on Diagram U-) 

If the pattern is found to be 
too short you must fasten a 
piece of paper to the pattern and 
add the needed length to the 
back of the neck and shoulders 
as shown by the dotted line 
marked '^E E." It is very oft- 
en that the pattern needs to 
be altered in this way for 
round or stooped shouldered 
persons. Such a figure must 
have the extra length at the top 
of the pattern, otherwise the 
garment will pull down from 
the neck. 




DIAGRA->I 4 



Raising the back length at the neck necessitates the neck 
line being raised and the shoulder line raised at the neck 
and tapering off to the tip of the shoulder. Follow closely 
the dotted line marked **E E" in Diagram 4. 



The Home Dressmakers' Guide 



37 



If the length of the back of the pattern from the waist 
line up to the neck should be too long for you, fold a tuck 
in the pattern as shown by the line marked ''H" in Diagram 
4, making it correspond to your measurements. This is 
done on the back half of the pattern only. 

When the individual back length measurements is 
shorter than the pattern, making it necessary to lay a tuck 
in the back half of the pattern as just described, it is usually 
found that the front length measurement is long. We 
therefore do not cany this alteration across the front half 
of the pattern until after the front length has been meas- 
ured. 

Front-Length Alteration 

After the back length measurement has been applied to 
the pattern the front length of the pattern should be meas- 
ured. Measure up from the waist line to the neck as was 
done for the back length. (See "Length of Front", Dia- 
gram 5.) 



If your front length meas- 
urement is more than the 
front length of the pattern, 
increase the length of the pat- 
tern by adding the required 
amount at the neck as shown 
by the dotted line marked "D. 
D." in Diagram 5. 

Notice that the shoulder line 
is raised the same amount as 
the neck, tapering off to the 
shoulder tip but the width of 
the shoulder is not increased. 
Should it be necessary to de- 
crease the front length of the 
pattern, do so by folding a 
tuck in the pattern at the line 
marked 'T' in Diagram 5. 




DIAGRAM 



The Home Dressmakers' Guide 




DIAGRAJM 6 

When the front length of the pattern has been made to 
conform to your front length measurement, then measure 
the shoulder of the pattern. Apply your shoulder meas- 
urement, taken from the base of the neck to the tip of the 
shoulder, to the shoulder of the pattern. Increase or de- 
crease the shoulder of the pattern, as shown by the dotted 
lines in Diagram 6. ''X" for the increase and '*0'' for the 
decrease of the shoulder width. Do this on both the front 
and back half of the pattern. 



Armseye Alteration 

You are now ready to alter the armseye. If you have 
had to decrease the front or back length of your pattern 
by folding a tuck, you have no doubt changed both the size 
and the shape of the armseye of the pattern. 

Measure the armseye with your tape measure. If the 
armseye is too small trim it out to the proper size preserv- 
ing the original shape. Be careful about trimming it out 
too much at this time. When the garment is tried on and 
the armseye seams too tight it is very easy to trim it out 
then. 

If the armseye is found to be too large fill it out by 
fastening a piece of paper to the pattern and decreasing the 



The Home Dressmakers' Guide 



39 



size of the armseye as shown by the dotted lines marked 
"B" in Diagram 6. If there has been no length alterations 
made in the pattern the armseye may be too large and the 
alteration shown by the dotted lines marked "B" will be 
necessary. 

This may change the under-arm length again. If this 
is so, and upon measuring, the length of the pattern under 
the arm from the waist line to the armseye is found to be 
too long, shorten it by folding a tuck in the pattern at ''E" 
in Diagram 3, but not interfering with the back or front 
length measurements. 

The Neck Alteration 

If the alteration for the increase of the front or back 
length of the pattern has been made, the size of the neck has 
doubtless been altered. If the length of the pattern was 
found to need no alteration, the neck may still require 
some changing. 

Measure the neck of the pattern. The number of 
inches between points X and X on the front half of 
the pattern, (See Diagram 7) and the number of inches 
between X and X on the back half of the pattern, (See Dia- 
gram 7) added together, should be half your neck measure- 
ment. 

Apply the individual neck measurement to the pat- 
tern. If for example, the pattern is found to measure 
one-half inch more than one-half of vour neck measure- 




DIAGRAM 



40 



The Home Dressmakers' Guide 



nient, decrease it bj' taking one-fourth of an inch off the 
front and one-fourth of an inch off the back of the pattern as 
shown by '*A" in Diagram 7. Likewise if the pattern is 
too small at the neck increase it the required amount as 
shown by the dotted line marked *'B", in Diagram 7. 

Having measured and applied the individual measure- 
ments to the pattern, pin it together with the seams on the 
outside and try it on. Sometimes w^hen the pattern has ap- 
peared to be alright, it may when tried on, require some al- 
teration. If the pattern is too long between the bust line 
and the neck lay a tuck in the pattern, or if it is too short 
split it and set in a piece. (See "D" Diagram 7.) Make the 
alteration in the same manner between the bust and waist 
lines. (See ''E'\ Diagram 7.) ■ 

It is rarely, if indeed it ever happens, that a pattern 
needs all the foregoing alterations. Sometimes one altera- 
tion suffices, again, two may be needed. 

Different figures require different alterations, but which 
ever one is needed to make a pattern fit, it is made in the 
manner set forth. 

Diagram No. 8 shows all the alterations and may be 
followed when making any single alteration. 




= ■ r VJAtSj LtNt 



DIAGRAM 8 



The Home Dressmakers' Guide 



41 



TO ALTER A PATTERN FOR A FITTED WAIST LINING 

The Waist Line 

The pattern has been purchased according to the bust 
measure and will therefore need little, if any, alteration 
at the bust line. It may have been necessary however, to 
purchase a pattern larger than the size of your bust meas- 
urement. 

The waist may also be too large, making it necessary 
to decrease the pattern at the waist line as well as the 
bust line. First pin the under-arm seam together. The 
darts in both the front and back of the pattern must also 
be pinned together. Place the pattern flat on the table. 
Measure the pattern from the center front to the center 
back at the waist line. Do not include the seam allowance 
in this measurement. The number of inches from the cen- 
ter front to the center back of the pattern should be half 
of your waist measurement. 

Subtract half your waist measurement from the num- 
ber of inches found in the pattern and you have the amount 
the pattern must be decreased at the waist line. Decrease 
the waist line of the pattern by making the dart deeper or 
taking a deeper under-arm seam. (See Diagram 9.) 

For example we will assume that your waist meas- 
ure 24 inches. Half of 24 would be 12 inches. As- 
suming the pattern measured 14 inches at the waist line, 
there is a diiference of two inches to be taken ofl^ the pat- 
tern. Take one inch off the front half and one inch off the 
back half of the pattern. The pattern can be increased at 
the same place. 




DIAGRAM 9 



The Home Dressmakers' Guide 



The Bust Line 

If the pattern is too large at the bust line run the dart 
up reducing the pattern to j^our bust measurement. You 
may get into trouble here by having taken your bust meas- 
urement too tight. 

Be sure to take an easy comfortable .bust measure, other- 
wise your pattern will be too small after it has been altered. 

Any lining pattern may be pinned together, measured 
and altered in the same manner. The dart shown in Dia- 
gram 9 is the proper place to alter the waist or bust line 
of any lining pattern. 




The Drop Yoke 

There are many designs 
that can be worked from a 
plain foundation pattern. 
Among the simplest of 
these, and one that is con- 
tinually in style, is the 
drop yoke. 

Pin the shoulder seams 
of the plain blouse pattern 
on the exact seam line, as 
shown by Diagram 10. 
Then measure from the 
shoulder seam down, 21/2 
inches on the front of the 
pattern as shown by Dia- 
gram 10. Cut the pattern 
at this point, not forget- 
ting to allow for seams 
when cutting the cloth. 

You have taken 2i^ 
inches from the front of 
the pattern and have added 
it to the back thus drop- 
ping the shoulder that amount. When cutting the front 
of the blouse from the cloth, allow for '"fullness" to be 
gathered on to the yoke. (See Diagram 10.) 



DIAGRAM 10 



The Home Dressmakers' Guide 43 

CHAPTER V 
PATTERNS— SLEEVE 



How To Select the Sleeve 

A garment that is beautiful and satisfying in every 
detail owes much to the sleeve. Few dressmakers and not 
many home-sewers enjoy making sleeves and yet they are 
most important, demanding careful consideration. No part 
of a garment is more conspicuous. Nothing detracts so 
completely from a style as does a poorly made sleeve, or 
add to its beauty as does a well made, properly fitting one. 
How often an otherwise perfectly becoming gown has been 
spoiled by an unbecoming sleeve. We cannot always w^ear 
the sleeve designed for the gown we have selected. It is 
very necessary that the shape and size of the arm be con- 
sidered and the sleeve planned to detract from the defects 
of the arm that is not w^ell proportioned. 

Study the size and shape of your arm. For instance, 
the short, thick arm should have long unbroken lines pre- 
dominating in the sleeve; points that taper over the hand 
will also help to add length. This arm should never be 
divided up with straight round cuffs. 

A becoming cuff, for the short fleshy arm, is one 
that has the point going up on the front of the arm 
instead of the back. This gives length to the back of the 
arm. Moreover, it is always best to have a well shaped, 
closely fitting sleeve curved into the arm at the wrist, with 
a point either on the back or over the hand. 

If cuffs are used, they will be found most becoming if 
pointed or flared over the hand. A tailored blouse may 
have a mannish cuff, but never much fullness in the sleeve. 
A row of buttons on the back of a sleeve, when they are 
worn for trimming, adds to its attractiveness and also gives 
length. 

Long, slender arms must have lines broken. I have 
known arms that were extremely long, having almost an 
ungainly appearance, made to look well proportioned by 
choosing a sleeve with length lines broken here and there. 
The length may be divided by means of a cuff almost to the 
elbow. 

All trimmings should follow around the arm, transverse- 
ly, never up and down. No points should be permitted over 



# 



44 



The Home Dres»Kikas^ Guide 



the hands^ :i it possibly c&r be avoiikid, for the Tery ssig- 
gestk>n of soch a cieaticm will gin? the !e!!!^ti j^y^ are ser- 
ins id concead. InTxrial^F use e r : ;- 5:7 r will 
p»iiiit to break the length, 

APPLYING MEASURE^IEyT'S TO TKE ONE -PIE '.""E BISHOP 
SLEEVE PaTTIPN 




C 



If 



3 
-1 



tT-' ] '.:. . _T ^ 5 . . t-'-ItHw^* 



Tfc; W;i:h a:--- 



\ 



X 



~. i.. V ;^ 



The Home Dressmakers' Guide 



45 




DIAGRAM 3 



is ''held in full" and eased 
into the armhole. If the 
sleeve pattern measures 
more than 21/2 inches 
larger than your armseye 
measurement, lay a plait 
lengthwise in the pattern 
extending from the top of 
the sleeve to the wrist. See 
the dotted line marked "B" 
in Diagram 2. If the pat- 
tern measures less than 2 
inches larger than the 
armseye measurement, cut 
the pattern in the same 
place and set in a piece 
making it from 2 to 21/2 
inches larger than the 
measure taken for the 
armseye. 



This alteration may be 
made when cutting this 
Place the pattern on the cloth 



sleeve out of the material, 
with the fold of the pattern far enough inside the fold of 
the cloth to make the necessary increase, or far enough out- 
side the fold of the cloth to decrease it the required amount. 

If the pattern measures more than 21/^ inches larger 
than the armseye it may be because it has been cut too 
high, as shown by the line marked "Extreme Curve, in 
Diagram 3." This is often the case with some makes of 
pattern. 

The pattern may also measure less than the number of 
inches required for the armseye, or it may measure just 
right and still be cut too high. 

The sleeve pattern for a Bishop sleeve should be shaped 
at the top as shown by the dotted line marked "C" in Dia- 
gram 3. If the pattern appears to be cut too high as shown 
by the line marked ''Extreme Curve", pencil a line like the 
dotted line marked "C" and measure along this line for the 
size of the sleeve at the top. 

If the pattern has been cut too high, and many of them 
are, do not cut this fullness off. Mark the pattern by 
drawing a line like the dotted line marked "C" in Diagram 
3, and run a trace thread in the cloth, following the line on 
the pattern, and baste the sleeve into the armseye on this 
line. When the garment is tried on, the exact amount of 
this fullness needed can be determined. 



46 



The Home Dressmakers* Guide 



ALTERING THE WIDTH AT THE WRIST 



Very often all the width 
given in the pattern above 
the elbow is required, but 
from the elbow to the 
wrist a little less width is 
desired. For this altera- 
tion follow the lines 
marked "D" in Diagram 4. 
Any style of cuff may be 
worn with the Bishop 
sleeve. Subtract from the 
length measurements the 
number of inches desired 
for the cuff before cutting 
the sleeve as the sleeve 
would have to be cut just 
that much shorter. 




DIAGRAM 4 



THE DRESS SLEEVE WITH A DART TO THE ELBOW 

This is a very comfortable sleeve for a dress and espe- 
cially good for a short thick arm. 



The Width Alteration 

First, measure around the 
top of the sleeve pattern to de- 
termine how many inches it 
is larger than the armseye of 
the garment. If it measures 
more than from 2 to 21/2 inches 
larger than the armseye, it must 
be reduced. 

This sleeve pattern may also 
be cut too high at the top as is 
shown by the line marked **Ex- 
treme Curve" in Diagram 3. 
If this is so, pencil a line 
like the dotted line marked 
"C in Diagram 5, and meas- 
ure along this line for the 
width at the top of the sleeve. 




DIAGRAM 5 



The Home Dressmakers' Guide 



47 



This sleeve pattern is increased or decreased in width by 
folding a plait or setting in a piece where the dotted line 
marked *'X" is shown in Diagram 5, or as shown by the 
dotted lines marked 'T" and ''G'\ ''F" for decrease and 
*'G" for increase. The width at the elbow may also be 
measured and this alteration extended at the elbow. If 
the elbow is alright let the alteration taper to nothing at 
the elbow. If the width at the elbow is altered the altera- 
tion must extend to the wrist, taking off or adding an equal 
amount on both the upper and under sleeve and preserving 
the original proportions. 

The Length Alteration 

When the width has 
been altered the sleeve 
pattern must be meas- 
ured for the length. Fold 
the pattern and apply 
the measurement taken 
from the shoulder to the 
elbow to the pattern, 
measuring along t h ^ 
dotted line marked ^'X" 
in Diagram 6. This 
measurement is number 
8 in the Chapter on 
Measurements. Increase 
or decrease the length of 
the pattern to make it 
conform to your meas- 
urement by folding a 
tuck, or setting in a 
piece of paper, between 
the shoulder and the el- 
bow where the dotted 
line is shown in Dia- 
gram 6. 

In the same manner apply the ''elbow to wrist" meas- 
urement, (number 9 in the Chapter on Measurements) and 
make the alteration where the dotted line is shown between 
the elbow and the wrist. The "Inside Length" measure- 
ment could be applied to the pattern, and the pattern al- 
tered to correspond to this measurement. It will readily 
be seen that the dart should come to the elbow, therefore 
if the inside length measurement is applied to the pattern, 
the difference between the individual measurement and the 
pattern must be added or taken off without interfering with 
the position of the elbow. The dart should come just to 
the elbow and the separation in the pattern should continue 
for one inch above the elbow. (See *'E" Diagram 7.) 




DIAGRAM (». 



48 



The Home Dressmakers' Guide 



"Fullness" For the Elbow 

In a sleeve with a dart 
to the elbow it is very nec- 
essary to have some **fuir 
ness" in the elbow. If the 
pattern does not allow for 
this it must be provided for 
when the pattern is being 
measured and altered. This 
^'fullness" in the elbow will 
make the sleeve more com- 
fortable and will also cause 
it to wear better. Fold the 
pattern and if the upper 
part of the sleeve does not 
extend one inch beyond the 
under, at the wrist, add 
this inch just as shown by 
the dotted line marked "B'* 
in Diagram 7. This inch 
of fullness is held in at the 
elbow and distributed part 
above and part below the 
elbow as shown by the 
lines marked "E. E." in 
Diagram 7. 




DIAGRA3I 7 



SLEEVE TWISTING 



It has been my privilege to stand before thousands of 
women in many cities, helping to solve the problems that 
make dressmaking difficult. One trouble common to all and 
a subject of universal interest is the sleeve that twists and 
how to remedy it. By ''sleeve twisting" we mean when the 
inside seam of the sleeve will twist around to the top of 
the arm at the wrist. This is not only annoying 'but very 
uncomfortable. The proper starting point to remedy this 
trouble is first to determine from the pattern if the sleeve 
is going to twist. 



The Home Dressmakers' Guide 



49 



How To Determine From the 
Pattern If the Sleeve Will Twist 

(This applies to a Bishop sleeve and a sleeve with a dart 
to the elbow) . 

Place the pattern on the table bringing 
the inside seams together at the point 
marked "X" in Diagram 8. If the upper 
side of the sleeve projects two inches be- 
yond the under side of the sleeve at the 
wrist, the sleeve will not tv/ist. (See plain 
line marked '*A", in Diagram 8, for the 
upper side of the sleeve and the dotted 
line marked '*B'' for the under side.) If 
the inside seam meets all the way and is 
even at the wrist, the sleeve may twist, 
indeed it is very probable that it will. 
When the inside seam has been brought 
together at the point marked ''X" in Dia- 
gram 8 and the pattern has been folded 
on the line designed for the outside seam, 
if then, the under side of the sleeve pro- 
jects beyond the upper, the sleeve will 
twist in spite of all you can do unless the 
trouble is remedied before the sleeve is 
cut. 




DIAGRAM S 



How To Alter the Pattern 

To Prevent the Sleeve Twisting 

Diagram 9 shows how the under 
sleeve part of the pattern must be 
dropped until the upper projects two 
inches beyond the under, at the wrist. 
The line marked "X" shows the under- 
side of the pattern. Causing the upper 
part of the pattern to project two 
inches beyond the under part of the 
sleeve at the wrist, brings the inside 
seam of the sleeve into the correct posi- 
tion on the arm. It seems unnecessary 
to caution you about trimming this in- 
side seam, making both the upper part 
of the pattern and the under, the same 
size again, as that would bring you back 
to where you started, yet that is what 
many women do. All you trim off is the 
amount on the under sleeve that ex- 
tends below the wrist line of the upper 
sleeve. (See Diagram 9.) 




i>ia<;k\>i 



:a) 



The Home Dressmakers' Guide 



The line at the wrist marked "X" shows the amount 
that may be trimmed off. At the top of the sleeve pattern 
the under sleeve must be built up by adding the amount that 
was dropped. The space between the original line marked 
**A" in Diagram 9 and the line marked ''X", is the amount 
that must be added. Fasten a piece of paper to the top of 
the under sleeve pattern and build it up to its original size 
and shape. The dotted line marked *'A" v/as the original 
line for the top of the under sleeve pattern. It is necessary 
to do this, otherwise the pattern would be shortened. 

The Two-Piece Coat Sleeve 

The sleeve for a tailored suit must of necessity be closer 
fitting than the fuller sport coat or top coat sleeve. There 
must be room for the action and natural curve of the arm, 
and yet, unlike the two piece dress sleeve, for instance, 
which clings to the arm and follows its every movement, 
the tailored sleeve requires straighter lines, and attention 
must be given to have the right balance. The individual 
measurements are applied to the two piece coat sleeve sim- 
ilarly as for the sleeve with a dart to the elbow. 

The Width Alteration 

Measure the top of both the upper and under parts of 
the pattern, using a tape measure, and following the curves 
of the pattern. Do not include the seam allowances in 
this measurement, 
measure from seam line 
to seam line on both 
parts of the pattern. 
The top of the sleeve 
must be from 2 to 21/2 
inches larger than the 
armseye of the coat, 
otherwise the sleeve 
would be spoiled. If the 
sleeve pattern measures 
more than 21/2 inches 
larger than the armseye 
measurement, the sleeve 
pattern must be made 
narrower by laying a 
plait in the pattern as 
shown by the dotted line 
marked "C in Diagram 
10. An equal amount 
must be taken from 
both the upper and un» 
der sleeve pattern., diagram 10 




The Home Dressmakers' Guide 



51 



If the sleeve pattern measures less than the extra 2 
inches required, the pattern must be made wider by cutting 
at the lines marked ''C" and setting in a piece of paper 
making the pattern the necessary width. This must also 
be done on both the upper and the under pattern. 

It may be that the top of the upper sleeve pattern has 
been cut too high, allowing too much fullness on the top of 
the sleeve to be worked into the armseye. If this seems to 
be so, do not cut it off. Mark the pattern with a pencil as 
shown by the dotted line in Diagram 10, and, when cutting 
the sleeve, run a trace thread in the cloth following the line 
on the pattern. 

Baste the sleeve into the armseye on the line made 
by the trace threads. 

Occasionally the pattern gives just the desired width for 
the sleeve from the elbow to the wrist, but it is too wide 
from the elbow to the shoulder. More often the pattern is 

too narrow from the elbow to the 
shoulder while it gives just the 
width required below the elbow. 

When this is the 
case the pattern is 
not reduced or made 
larger at the dotted 
lines marked "C" 
but is altered as 
shown by the dotted 
lines marked "A" 
and "B" in Diagram 
11. "A" for the de- 
crease of size and 
''B" to make the 
pattern wider. 

An equal amount 
must be added or 
taKen from both 
seams on both the 
upper and under 
sleeve pattern. 

DIAGRAM 11 




The Length Alteration 

Apply your "shoulder to elbow" measurement to the 
under part of the pattern. If the pattern is too long lay a 
plait where the dotted line is shown in Diagram 12. If 
the pattern is not long enough cut it in the same place and 
set in a piece of paper making it the required length. 



02 



The Home Dressmakers' Guide 



Apply your **elbow to wrist" measurement in the same 
way. The length measurements are applied and the alter- 
ation made the same, on both the upper and under sleeve 
patterns. (See the lines marked ''X" and ''X" and "N" and 
"N" in Diagram 12.) 

Next apply your ''inside length" measurement to the 
sleeve pattern. This measurement is No. 12 in the Chapter 
on Measurements. If the pattern measures more or less 
than 3'our inside length measurement make the alteration, 
half above and half below the elbow, but not interfering 
with the back length measurement that has just been al- 
tered. 

When making this two piece coat sleeve it is very 
necessary to have the inside seam on the under part of the 
sleeve, 1/2 inch longer than the inside seam of the upper 
part of the sleeve. (See the dotted line marked "0" in 
Diagram 12.) 

This 1/2 inch mxUst be held in ''fulness" between the 
the elbow and the top of the sleeve when the sleeve 
is basted. Therefore when applying the inside length 
measurement to the pattern this 1/2 inch must be added to 
the under sleeve pattern if this allowance has not been 
provided for. 





DIAGRAM 12 



The Home Dressmakers' Guide 53 

CHAPTER VI 
CUTTING AND MAKING SKIRTS 

SUGGESTIONS 
Threads for Basting 

Use coarse, white basting cotton, No. 40 or 50, for ordi- 
nary materials. It will hold the cloth firmer and keep it 
from slipping. For thin goods, use No. 60 or 70 basting 
cotton. 

It is best to baste Taffeta or Soft Silk with sewing silk. 
This is not so apt to cut or leave holes in the delicate fabric 
after the threads have been removed. 

When taking out, cut basting threads. Do Not pull ruth- 
lessly. Many a fine garment has been cut and ruined by 
the thin, tough thread. The better way is to clip in small 
sections before removing. 

Pressing 

To press Woolens, lay a wet cloth, preferably cotton, 
on the garment just where you want it pressed. For seams 
it is even better to use a squeezed-out sponge. 

Lay a square of good tailor's canvas on cloth about to 
be pressed ; indeed, this makes ideal sponging material, and 
will keep the cloth from becoming shiny or marked. Rub 
the wet sponge over its surface. 

It is best to use a hot iron for pressing. The reverse is 
true in pressing silk. A very hot iron will take the life out 
of a silken fabric. It is then liable to crack, and is virtually 
worthless, as many a garment has become, the blame, how- 
ever, being placed upon the silk, when it rested entirely 
with the presser. 

Sponging and Shrinking Woolens 

Take five yards of unbleached muslin, or a sheet, if the 
other is not obtainable, and wring it out of cold water. 
Then laying your woolen goods as it came from the store, 
full length, and folded double, cover the fabric with the wet 
cloth and roll up the entire material, letting it remain for 
several hours, or over night. 

When removing out of the sponge, hang the goods upon 



54 • The Home Dressmakers' Guide 

a clothes line to dry. DO NOT press with a hot iron, or you 
will hopelessly mark it and render it liable to shininess 
under the slightest wear. Slow natural dry, is always best. 
It is then ready to cut. 

Shrinking White Wash Goods 

Lay the material in a pan of cold water and let come to 
a boil. Then hang up to dry. WTien but a suggestion of 
dampness remains Press with a hot iron and it will appear 
as well as before putting into the water. 

Setting Color 

A little salt in the water v:ill set the color. Such shades 
as lavender, pink, blue or green, should be dried in the 
shade, to prevent fading. 

\Mien tracing seams on silk, do not use a tracing wheel ; 
it will cut the silk. Tracing with a colored thread will give 
satisfactory results. 

^Tien making a skirt that has plaits or a stitched welt 
seam, leave one seam unbasted until all the other seams are 
stitched. The back seam, if there is one, is the best to leave 
open. 

^^Tlen sewing soft silks, crepe, chiffon or any thin ma- 
terial, stitch on paper; this will prevent the seams from 
puckering. 

CUTTING THE SKIRT 

The pattern has been measured and altered to the indi- 
vidual measurement. The length desired for the finished 
skirt has been determined and, below this line, a 31/0 inch 
hem allowance has been marked upon the pattern. The 
width for the bottom of the skirt has been decided upon, 
taking into consideration the width of the material, and the 
next procedure is placing the pattern upon the cloth. 

Placing the Pattern Upon the Cloth 

One can hardly make a mistake in placing the pattern 
on the material, the instructions that come with the pattern 
makes this very plain. 

It is of the utmost importance that the entire pattern 
be placed upon the cloth, before any part is cut, and the 
cutting planned economically. Failure to do this has re- 
sulted in a vexing predicament that could have been avoided. 



The Home Dressmakers' Guide 



55 



Corners should not be pieced at the bottom of the 
skirt; this will not be necessary if the entire pattern 
is placed on the cloth. When it happens that the width of 
the material will hardly give the width desired for the bot- 
tom of the skirt, an inch or two can be added by placing the 
pattern on the cloth so as to have the full width of the mate- 
rial where the hem is turned, and then piecing the hem 
allowance. 

For example, Diagram 1 shows 36-inch material, 
with the pattern placed to give the full 18 inches in 
the bottom of the front half of the skirt. The space marked 
"0" is where the hem is pieced. This will not show when 
the hem is turned. If the material should prove to be too 

narrow for the width of the 
skirt at the bottom decided 
upon in the pattern, it is 
much better to have more 
seams in the skirt than it is 
to piece the gores. 

Then again it is sometimes 
necessary to make a greater 
allowance at the back, for 
gathers at the waist line, if 
the design selected calls for 
gathers. 

Take time and study 
every detail carefully before 
cutting and there v/ill be 
nothing to worry over or get 
nervous about after the skirt 
has been cut. 
The beginner is especially cautioned not to hurry as it 
is when hurrying mistakes are made. 

The Grain of the Cloth 

Be sure the pattern is placed in the right relation to 
the grain of the cloth. Some weaves have a decided "up 
and down grain." Especially is this true of Broad-cloth. 
Great care must be exercised here so that no mistakes are 
made, as they often prove costly and valuable material is 
wasted. Broad-cloth, and indeed almost every material 
with a nap except velvet, should be cut with the nap run- 
ning down. 

Rub the hand gently down over the cloth, the smooth 
feeling will show the map running down, while rub- 
bing against the nap will feel rough. Be absolutely cer- 
tain, both that the nap is running down, and that every 
part of the garment has the nap running the same way. 




DIAGRAM 1 



56 



The Home Dressmakers* Guide 



PART 
BIAS Of^i 
SIDE 



CLOT H 
vMAlST 



- PART 
BiASON 

BACK 



CLOTH 



PATTERN 



CLOTH 



BOTTOM 



CLOTH 



DIAGRAM 2 

Allowing for Gathers 

It is frequently the 
case that more fullness 
is needed for gathers at 
the back of the skirt 
than the pattern allows 
for. This is very easily 
remedied by placing the 
pattern on the cloth as 
shown in Diagram 3. 
Notice that three inches 
is allowed at the waist 
line. This is on the 
folded cloth giving six 
inches of fullness to 
gather. 



Bias 

It is not always 
desirable to have 
all the bias at the 
sides of the skirt. 
In a four piece 
skirt, where there 
is a seam in the 
back, it is much 
better to have part 
bias at the side and 
part at the back. 
Therefore, when 
placing the pattern 
on the cloth ar- 
range for this by 
placing the pattern 
as shown in Dia- 
gram 2. 




DIAGRAM 3 



The Home Dressmakers' Guide 57 

Using a Pattern on Striped Material 

When making a dress or a skirt out of material that has 
stripes or plaids it is very necessary that the stripes or 
plaids be matched perfectly. A very simple way to do this 
is as follows : Having cut the front or back half of the gar- 
ment as the case may be, take the other half of the pattern 
and placing it beside the cloth already cut, mark upon the 
pattern, with a pencil, a continuation of the stripes or plaids. 
When this half of the pattern is placed upon the cloth the 
pencil markings can be made to correspond with the stripes 
on the cloth. 

Using a Pattern for a Plaited Skirt 

In Chapter 3 will be found the instructions for altering 
a plaited skirt pattern. The diagram in Chapter 3, shows 
how to mark the plaits in the pattern, after the pattern has 
been altered to fit the individual, and the plaits folded in 
the pattern. 

After each plait has been carefully marked with a 
pencil, both upon the plait and along its edge, the pat- 
tern can be smoothed out flat and placed upon the folded 
cloth. Fasten the pattern securely in place upon the cloth 
with pins. 

Cut the cloth and before taking the pattern off, mark 
the plaits with tailor tacks, by following the pencil lines 
drawn upon the pattern. 

Take the tailor tacks, or trace threads, through the pat- 
tern and both thicknesses of cloth. When the threads are 
clipped and the pattern lifted off, the plaits will be marked 
evenly on both sides of the cloth. (See instructions for 
Tailor Tacks on Page U, Diagram 6.) 

Fold the plaits in the cloth upon the lines marked with 
the tailor tacks and baste them carefully. By following 
this method with a plaited skirt pattern the plaits will be 
even alike on both sides. 

• It will not be out of place here to remind the home sewer 
that perfect results follow careful attention to these things, 
that are too often, considered unimportant. A tailor would 
never attempt to put a garment together without first 
marking every plait, seam, hem, waist line, pockets, yokes, 
etc., with tailor tacks. On the other hand many home sew- 
ers would not think of giving the time to anything so super- 
fluous as tailor tacks. 

It is for this reason the skirt or suit tailored at home 



:)8 



The Home Dressmakers' Guide 



has an unprofessional appearance. It pays to take the time 
to do a thing right. Tailor tacks are important and neces- 
sary. Mark the pattern with a pencil (if it has been altered 
so the perforations are useless) outlining pockets, yokes, 
plaits, seams, waist line and hip line, and take the tailor 
tacks through the pattern and both thicknesses of cloth, 
following these pencil markings. The garment can then be 
put together more perfectly and with less trouble. 

The plaited skirt is always 
worn in some style or other. It 
may be merely a plait on each 
gore, or it may be a cluster of 
them on each side of the panel. 
But which ever is used, they can be 
arranged so that they will be be- 
coming to any figure. 

Sometimes they can be stitched 
down almost to the knee, and 
again, only down to the hip line — 
it is really a matter of choice and 
good judgment, influenced by pre- 
vailing styles. 

The illustration shows side 
plaits all around from the front to 
the back, meeting with an in- 
verted plait on the back. 

A Plaited Skirt Without a Pattern 

It is not necessary to have a pattern when making a 
plaited skirt out of straight lengths of cloth. 

Take three widths, say of 36-inch material, and cut 
them to your longest length measurement. Sew the three 
widths together, leaving one seam open, so the cloth can 
be spread flat upon the table. 

Next find the center of the entire width and pin a box 
plait, making it any width desired. The center of this 
box plait is the center front of the skirt. Beginning at 
this box plait lay each plait at the hip line, plaiting one side 
of the cloth first into half the hip measurement. Then 
plait the other half in a like manner. Be sure to plait at 
the hip line first as it is the balance line for the skirt. 




DIA^iKAM 4 
A PLAITED SKIRT 



The Home Dressmakers' Guide 



59 



Next fold the plaits from the hip line to the waist line, 
curving them to get the exact measurement. Always keep 
the straight grain of the cloth on the top of the plait and all 
the bias underneath. This is to keep the plaits from swing- 
ing out at the bottom when the skirt is finished. 

When the plaits are carefully basted above the hip line, 
they may be basted below the hip line so they can be pressed 
with a warm iron. The back seam can then be sewed, two 
plaits being brought together to form an inverted plait. This 
seam may be sewed all the way up and the placket closing 
can be placed under any one of the plaits at the left side. 

Plaits may be stitched down with the machine to just 
below the hip line or they may only be stitched part way. 
When plaits are not stitched on the outside to the hip line, 
a piece of cambric, about two inches wide, may be used to 
hold the plaits. Have the strip of cambric long enough to 
go around the skirt at the hip line and fasten the underside 
of each plait to it using the tacking stitch. It is very easy 
plaiting a striped silk in this manner as the stripe can be 
followed for the top of the plait. 



A Skirt With a Drape on the Side 





DIAGRA3I ."> 
A DRAPED SKIRT 



This skirt is made wath 
three widths of 36-inch cloth, 
cut to the desired length and 
basted together. The center 
of one width is in front and 
is the center front of the 
skirt. One of the seams comes 
at the center of the back of 
the skirt and the other two 
seams come at the sides. 



60 



The Home Dressmakers' Guide - 



Cut a belting to the exact waist measurement, and plan- 
ning to have the skirt closing to the right or left, pin the 
cloth to this belting at the center front and back. 

Now gather the cloth nine inches each side of the center 
front (making a total of 18 inches) gathered into half the 
waist line and, treating the back in the same manner, baste 
to the belting, allowing the remainder of the cloth at each 
side to drop one yard to form the drape. This drape may 
be made less if desired by gathering more fullness into the 
waist line at front and back. Soft satins or any soft ma- 
terial drapes well in this skirt. 

A very simple skirt to make yet very effective and be- 
coming to slender figures. 



Cascade Drape 

This cascade 
drape can be in- 
serted into the 
skirt seams in 
various ways. 
Just as a sug- 
gestion of how 
to cut it, see 
Diagram 6. It 
may be made of 
the same cloth 
and faced, or 
can be picoted 
on the edge for 
finish. The cas- 
cade drape will 
look well on the 
four-piece skirt. 



Basting 




DIAGRAM 6 



After the skirt has been cut and marked with tailor 
tacks and the pattern lifted off, the next thing is to baste it 
carefully together on the lines marked for the seams. 

Do not hold a skirt, or any full length garment, in your 
hands while basting it. If you do the seams will stretch and 
be far from even when the bottom is reached. 



The Home Dressmakers' Guide 61 

The pieces of a skirt should be handled very carefully 
after they are cut and before they are basted. Especially 
is this true where there is bias. Just moving the material 
will sometimes cause it to stretch. Often the home dress- 
maker will cut out one piece of a skirt, and, picking it up by 
the edge will throw it over the back of a chair while another 
piece is cut out. This often results in a gore stretching three 
or four inches. 

The proper way to baste the side seams in a skirt, or any 
full length garment, is to carefully lay the pieces flat upon 
the table and pin the top of the seam together evenly. 

Likewise pin the bottom of the seam together evenly. 
Where there is bias the seam will doubtless have stretched. 
Work this back into its original length by smoothing the 
cloth with your hands. 

Beginning at the ends of the seam press gently toward 
the center, continuing until the entire amount that was 
stretched has disappeared. 

Next take a piece of cambric or any firm material, cut 
lengthwise and one inch wide. Do not tear the cambric into 
inch wide lengths, cut it. 

When the skirt is the garment being basted, these 
lengths should be cut the exact number of inches desired 
for the side length of the finished skirt. Measure your pat- 
tern from the natural waist line to where the hem is to be 
turned. This pattern, if it was measured and altered as it 
should have been, will be the exact length desired. These 
strips of cambric are to be used for staying the side seams. 

Any seam in a full length garment where there is bias 
must be stayed. Where bias meets the straight of the cloth 
the edge stay is not necessary. It is also unnecessary to 
stay seams where there is no bias. 

Pin the edge stay in with the seam. It does not matter 
upon which side of the seam allowance the edge stay is 
placed. Pin it at the waist line first, then at the bottom of 
the skirt where the line has been traced upon which to turn 
the hem. The edge stay need not extend below this line. 

After pinning the edge stay at the top and bottom, pin 
it here and there along the length of the seam so as to hold 
the cloth and stay together. Now, beginning at the top, 
baste carefully down to the bottom, using a small even bast- 
ing stitch, and basting the edge stay in with the seam. Do 
not use a long basting stitch here, because, if you do, the 
sewing machine will shove the cloth, causing puckers that 
may be difficult to press out. When sewing this seam with 
the machine place the cloth side next to the feeder and the 



(i2 



The Home Dressmakers' Guide 



stay on top. Placing the cloth side next to the feeder allows 
the feeder to take care of the extra length or fullness, that 
has been held on to the edge stay. 

After sewing this seam remove the bastings and over- 
cast or bind it. The seam is then pressed open and the 
edge stay is pressed under one side of the seam allowance. 

When overcasting the seams in a skirt always start at 
the bottom and work to the top. In doing so the threads 
are held down smoothly with the left thumb and finger 
while you overcast from right to left taking one stitch at a 
time. 

When binding the seam begin at the bottom and work 
toward the top. (See Binding and Overcasting in the 
Chapter on Stitches). 



The Placket 

The exten- 
sion for the fac- 
ing of the upper 
lapof the plack- 
et and the ex- 
tension for the 
under lap of the 
placket may be 
cut with the 
skirt. {See diag- 
ram 7. ) 




DIAGRAM 7 

Pla<'ket with the extension cut in the seam. 
Pla<?ket with the facing sewed to the seam. 



When this extension and the skirt is cut in one piece I 
would advise cutting it on both the left and the right side, 
because you are cutting your skirt double and it is better 
to cut it on both sides, keeping the cloth even, and trim off 
the useless extension on the right side, than to haggle into 
your cloth. 



If, to save material or to fit the gores in more economi- 
cally when cutting, you do not cut the placket extension 
with the gore, you must sew it on. (See Diagram 7). 



The Home Dressmakers' Guide 63 

This extension should be 21/2 inches wide and about 2 
inches longer than the opening for the placket. The length 
of the placket depends on the individual. It should be of 
sufficient length to permit the skirt being slipped over the 
head. From 10 to 11 inches is a good length for the average 
woman. 

Whether the extension for the facing of the upper lap 
of the placket and the extension for the under lap is cut 
with the gore or sewed on, they both must be stayed. Use 
a piece of straight material such as cambric, lawn or silk. 
By "straight" we mean not bias. This stay must also be 
21/^ inches wide. 

Fold the facing for the upper side of the placket over the 
stay and sew the facing and the stay neatly to the body of 
the skirt, using a hemming stitch. 

The edges of the cloth may be bound, overcast, or the 
edge folded and hemmed. 

Before the facing for the upper side of the placket is 
folded over the stay and stitched, the belting should be put 
in. (See the instructions in this Chapter teaching how the 
belting is put on the skirt). The under lap of the placket 
is faced on the wrong side with a piece of staying material. 
This strengthens the under lap for the eyes or snap fasten- 
ers. The edges of the under lap may be finished by binding, 
overcasting or any way that seems desirable. 

This extension was cut two inches longer than the 
placket proper; this makes a neat strong placket. The 
seam is sewed up two inches beyond the edge of the facing. 
A row of snap fasteners with three strong hooks and eyes 
at the belt will complete this placket. This is the simplest 
and best way to finish a placket in a tailored skirt. 

The placket closing may be in a seam, under a plait or 
in a slash made in the skirt. There are various ways to 
finish plackets. For a gathered skirt where a slash is made 
for the placket, or where it comes in a straight seam, it can 
be finished with a binding. 



64 



The Home Dressmakers' Guide 



A Bound Placket 

(See Diagravi 8). 

Take a piece of the material of 
which the skirt is made and cut on 
the straight grain of the cloth. This 
piece of material should be from 21/2 
to 3 inches wide and twice as long as 
the length of the placket. This is 
sewed on like a binding. 

Starting at one end of the opening 
for the placket, place the right side 
of the binding next to the right side 
of the cloth and baste the two to- 
gether, basting from one end of the 
opening for the placket down to the 
bottom, continuing around, and up 
the other side. Keep the edges of the 
cloth and binding even. 

Next sew the binding from the top 
down, continuing around the bottom 
and up the other side. Have the seam 
as narrow as you can. 

Turn the binding onto the wrong 
side of the skirt and sew it down 
with a hemming stitch or it may be 
sewed on the machine. 




DIAGR-\3r 8 



When the binding is turned at the lower end of the 
placket it will be necessary to clip the seam to make a per- 
fect turn and to keep the lower edge of the placket from 
looking puckered. Arrange the placket so it closes properly 
and stitch on the inside to keep the lower edge of the plack- 
et from gaping. Press with a warm iron. 

The Belting 



There are many kinds of belting. Just a straight belt- 
ing about 2 inches wide is best for slender folks. When the 
skirt is high waisted a belting as wide as the waist line is 
high should be used. 

A stout person can use a belting taped in the center and 
flaring to both edges. This belting will be form fitting. If 
this belting cannot be obtained the same result can be 
secured by taking darts in a wide straight belting. A nar- 
row straight belting should be used for a short waist. Tall 
slender folks can use a belting three inches wide. 

In dresses, made from light materials and especially silk 



The Home Dressmakers' Guide 



65 



or satin, a boned belting can be used giving excellent results. 
The bodice for a party dress may be built on a feather boned 
girdle six inches high. 

Attaching the Skirt to the Belting 

There are various ways of attaching the skirt to the 
belting, any one of which may prove satisfactory. In 
thirty-five years of dressmaking I have finished hundreds 
and hundreds of skirts and I have found that turning the 
skirt over the belting and finishing it on the inside with a 
seam binding or a cross stitch, gives the best looking finish. 
This leaves no seam between the cloth and the belting to 
cause a ridge which is not only annoying but is very notice- 
able, as it leaves a mark when the skirt is pressed. 

The belting for a separate skirt with a natural waist 
line should be 21/2 inches longer than the exact waist meas- 
urement. When basting the top of the skirt over the belting 
place the belting under the placket and right up to where 
the facing turns. (See Diagram 9.) 

Next turn the seam of the skirt over the belting turning 
back the facing as well. (See Diagram 9). 

The shaded lines at the top of the belting in Diagram 9 
shows the cloth turned over the belting. 




DIAGKAM J) 



Go The Home Dressmakers' Guide 



The shaded lines at the center front of this three piece 
skirt shows the cloth turned back for the hem down the 
front. Have the belting extend to the end of the extension 
for the under lap of the placket. (See '*B'\ Diagram 9). 
The skirt is turned over the belting and cross stitched, or 
the edge bound, from the top lap of the placket to the outer 
edge of the extension for the under lap. By doing this two 
rows of hooks and eyes are avoided as one row is all that 
is necessary. This will be found to be a most satisfactory 
finish for the top and the simplest and best method of at- 
taching the skirt to the belting. 

The belting is put in any separate skirt, no matter where 
the placket is, whether in a seam or under a plait, in the 
same way. Have the belting under the facing for the upper 
lap of the placket and extending to where the facing turns. 
Also have the belting continue to the edge of the extension 
for the under lap. 

Where the skirt is gathered or plaited it should not be 
turned over the belting as that would be bunglesome. If 
the skirt is gathered in the back only, turn the skirt over 
the belting until you come to the gathers then trim off the 
gathers until they come not quite to the top of the belting. 
Put in two or three rows of shirring to hold the gathers and 
sew them to the belting, finishing the top with a binding. 

Where the skirt is altogether gathered let the gathers come 
half way to the top of the belting and finish the raw edges 
of the cloth with a binding. The girdle will cover both the 
edge of the cloth and the belting. The girdle is tacked on 
to the belting. 

Turning the Hem 

After the skirt has been attached to the belting and the 
seams have been finished and pressed open, you are ready 
to turn and finish the hem. 

In altering the pattern for the skirt you made it the 
exact length desired for the finished skirt at the center 
front, side seams and center back. Below this line which 
you penciled on the pattern you allowed 3 or 31/2 inches for 
the hem. When the pattern was placed on the material and 
the skirt cut out, you followed the penciled line where the 
hem was to be turned with tailor tacks or trace threads. 
You therefore have the line upon which the hem is to be 
turned plainly marked on the cloth. 

Turn the hem upon this line, baste carefully and try the 
skirt on to determine the length and to be sure you have it 
even. 



The Home Dressmakers' Guide 



67 




DIAGRAM 10 



Basting the Hem 

First, baste where the hem is turned. This is shown by 
the dotted line in Diagram 10. 

Next, measure carefully marking the depth of the hem 
all around the skirt. This is to make sure you have the hem 
the same depth. 

A simple yet effec- 
tive method, is to cut a 
piece of card board the 
exact depth of the hem 
and use this card board 
for a guide. Now, fold 
the edge of the hem un- 
der and baste with a 
small running stitch. 

Sew with a slip stitch, remove the bastings and press with 
a warm iron. Finishing the hem this way will be very 
satisfactory for thin materials. 

If the cloth is heavy the edge of the hem may be bound. 
Use silk binding ribbon or a bias binding made of cambric 
or any suitable material. This bias binding should be cut in 
narrow strips about % of an inch wide. 

Facing a Hem 

Although I do not advise it unless absolutely necessary 
yet a skirt that is very circular may have to be faced. This 
facing is often referred to as a false hem. This facing 
must be bias or cut the shape of the bottom of the skirt. 
If the skirt is gored cut the facing for each gore separately 
and have the seams in the facing and the seams in the skirt 
meet. This is sewed on like any facing and finished like a 
hem. 

Fullness in the Edge of the Hem 



When skirts are straight and narrow around the bottom 
we experience no difficulty in making the hem lay smooth 
and flat. 

When the skirt is gored and wide at the bottom, we 
will find, after putting in the first bastings that the edge 
of the hem is wider than it is where it was turned. This, 
we call ''fullness" in the edge of the hem. This fullness 
may be shrunken out if the material is wool. 

Take a thread, the same color as the cloth, and, using a 
small running stitch, run the thread all around the edge of 



68 The Home Dressmakers' Guide 



the hem and draw this thread up until it is exactly the same 
size as the body of the skirt. This brings the hem up to the 
proper circumference to fit down closely to the body of the 
skirt. The extra fulness, or puckers, we will shrink out. 
Turn the hem upon the first bastings and take a sponge 
cloth, wrung out of water, and lay it upon the turned down 
hem. Press with a hot iron until all the gathers have been 
shrunken out and the hem is the same size as the thread. 
This can be done until not a gather will show and the hem 
will lay evenly and perfectly along the body of the skirt. 
Bind the edge of the hem neatly and after basting, sew it to 
the body of the skirt with the sewing machine. 

The binding may be sewed on with the machine and the 
hem felled down by hand. The binding may also be basted 
on and both the binding and the hem sewed with the ma- 
chine in one operation. 

The more circular the skirt is the greater the amount of 
fullness in the hem. Sometimes small plaits can be laid in 
the hem to take care of this fulness. (See Diagram 10.) 
This will be found to work satisfactorily. 

Sewing the Hem 

When the hem is sewed with the machine place the 
wrong side of the skirt next the feeder. The feeder will 
help to carry any fullness through without showing gathers 
and the tension will often make a better stitch on the right 
side. 

Woolen skirts may be hemmed by hand using the regu- 
lar hemming stitch. 

Silks, Satins, Crepes, Voiles and any expensive mater- 
ials being made up into handsome gowns, should always 
have the hem finished by hand. To sew the hem of such a 
gown with the machine not only cheapens the appearance 
of the garment but it is also more or less injurious to the 
cloth. Prepare the hem in the usual way and use the regu- 
lar hemming stitch or the slip stitch. If silk or satin skirts 
are hemmed with the machine they are handled just the 
same as the woolen skirts. 

TURNING AN EVEN HEM 

It often happens that one is alone and there is no one 
available to help in turning a hem evenly at the bottom of 
the skirt. 

After the skirt has been fastened to the belting and 
you are ready to have the hem turned, put the skirt on 



The Home Dressmakers' Guide 



69 



and standing erect (be sure not to look down or sway from 
side to side) before the glass, go all around yourself with 
the yard stick as shown in the diagram. 

Place a pin at the top of the 
yard stick at frequent intervals. 
Pay no attention to the distance of 
these pins from the waist line. 
Have the yard stick perpendicular 
and the pins will be 36 inches 
from the floor. 

Take the skirt off and lay it on 
the table. Place the yard stick 
again on the skirt with the 36-inch 
end at the pins. 

You may now place another 
pin at the 5 or 6-inch mark on the 
yard stick, which will be 5 or 6 
inches from the floor. This is 
where the hem will turn. 

The distance of the finished 
skirt from the floor will, of course, 
depend on the prevailing style or 
upon individual taste. 

Continue to measure from the 
first pins to where the hem will 
turn, marking at frequent inter- 
vals by placing pins. This second 
row of pins will be an even dis- 
tance from the floor all around. 
When the skirt has been marked 
all around, run a basting thread 
evenly around the bottom on the 
line of the pins. Turn the hem on 
this basting thread line. 

If the weave of the cloth is 
firm, this will assure you of an 
even length all around the bottom 
of the skirt. If the cloth is in- 
clined to stretch, you can baste the 
hem and try it on and see where 
"it has stretched. You can then 
change the pins and get it to hang 
perfectly with little trouble. 




DIAGRAM 11 



70 The Home Dressmakers' Guide 



CHAPTER VII 
CUTTING AND MAKING BLOUSES 

One of the essentials in every woman's wardrobe are 
her blouses. Styles come and go and come again but the 
blouse always remains. Any woman with a few good look- 
ing blouses and a well-tailored skirt is always in style and 
is well dressed. There is such a variety of designs from 
which to choose and such a wonderful assortment of ma- 
terials from which to select, that no woman need be with- 
out beautiful and becoming blouses. 

Since the hemstitching machines have come into vogue, 
for finishing seams, and adding much to the trimming, the 
problem of blouse expense and making, has to a great ex- 
tent become solved. In the blouse, perhaps more than in 
any other garment, exquisite workmanship is necessary if 
the finished blouse is to have the desired appearance. The 
finishing of the seams on the wrong side has much to do 
with the eflfect'when the garment is completed. 

When the blouse is made from sheer material the un- 
der-arm seam and the inside seam of the sleeve should be 
French seamed. If hemstitching is used all of the seams 
may be hemstitched. 

In a tailored blouse the seams are felled and stitched 
with the sewing machine making a neat finish on the inside 
as well as giving a smart tailored looked to the outside. 
A silk or wool blouse may have the seams sewed like an 
ordinary seam and then overcast neatly or bound with a 
seam binding. These seams may be finished separately and 
pressed open, or they may be bound double. 

After the shoulder and under-arm seam has been basted 
and sewed, hem the bottom and put a one-half inch elastic 
inside the hem. 

Another way to finish the bottom of a blouse is to make 
a band one inch wide and attach it to the back of the blouse, 
leaving the front loose, to be held in with the band when it 
is fastened around the waist. 

Finishing the Front of a Blouse 

There are numerous ways to finish the f^ont of a 
blouse. Just a hem down the front, with the right side 
lapping over the left, and fastened with buttons and button- 
holes is a very simple way. Loops of cord or braid, or 
crocheted loops may also be used with buttons. 



The Home Dressmakers' Guide 71 

Finishing the Front With a Box Plait 

A box plait in the front is especially good looking for a 
tailored blouse. This box plait may be made about 2^2 
inches in width and should be basted in the cloth before 
the blouse is cut. The box plait must be on the right side 
of the opening and the center of the box plait should be the 
center front of the blouse. The opening will therefore be a 
little to the left. 

On the left side just a hem is allowed for the underlap of 
the front. 

Buttons and button holes are always used with this style 
of blouse. 

The box plait may be stitched on each side having the 
stitching as far from the edge as the individual taste sug- 
gests. 

Finishing the Front With a Slot Seam 

First baste a hem on the left side of the front of the 
blouse. 

Next cut a strip of the material, lengthwise, and about 
three inches wide for a fly. This fly is doubled and basted 
onto the left side, and underneath the hem, with half the 
width extending beyond the hem. 

Now stitch the hem with the sewing machine and stitch- 
ing the fly on to the blouse at the same time. 

Baste and stitch the hem on the right side of the blouse 
and the right side will lap the fly meeting the hem on the 
left side. (See the Slot Seam, Diagram 19, Chapter 1). 

The front of this blouse is fastened with snap fasteners 
or hooks and eyes. 

Attaching the Collar to the Blouse 

When a flat or rolling collar is sewed on to the neck of 
the blouse and the collar is made double, it is necessary 
that the underside and upperside of the collar be sewed on 
separately. 

The underside or lining of the collar is sewed on first. 
Baste it on carefully having the blouse right side out and 
the underside of the collar in its final place with the edge 
of the collar and the edge of the neck of the blouse evenly 
together. 



The Home Dressmakers* Guide 



Sew it on using a short 
basting stitch. Begin at the 
center back and sew to first 
one end and then the other. 
The upper part of the collar 
is then placed under the half 
of the collar that has been 
sewed on and in the same po- 
sition as though it were going 
to be the underpart of the col- 
lar. It is, however, placed 
with the wrong side up and 
the right side next to the 
body of the garment. The 
outer edges of the two parts 
of the collar are then sewed 
together and the upper part 
of the collar turned up over 
the under part of the collar. 

The upper collar is/ 
brought up and turned over 
the seam at the neck and, 
with the edge turned under 
like a hem, is felled down by 
hand to the body of the gar- 
ment. It may be finished at 
the neck with a bias facing 
like the collar that is made of 
one thickness. (See "B" Dia- 
gram 1, showing the bias 
facing before it is turned.) 




DIAGBA3I 1 

When the collar is made 
of one thickness of cloth you first find the center of the back 
of the neck of the blouse and the center of the back of the 
neck of the collar. Place the wrong side of the collar next 
to the right side of the blouse having the two edges come 
together evenly. 

Baste carefully from the center back to the front on 
one side and then on the other. Next cut a bias strip of 
the cloth, three-fourths of an inch wide, and place the 
right side of this bias strip next to the right side of the 
collar and baste carefully. Now sew the three thicknesses 
together with a running stitch. (See ''B," Diagram 1, 
showing the bias facing before it is turned). 

Turn the bias facing on to the wrong side of the neck 
of the blouse covering the seam and after basting carefully, 
sew it down by hand using a small hemming stitch. Some- 



The Home Dressmakers' Guide 73 

times this bias facing may be sewed on with the sewing 
machine. 

Finishing the Yoke 

When there is a yoke on a blouse it should always be 
sewed on in the following way : Turn the edge of the yoke 
under and baste it flat on to the body of the blouse. This 
will always look best. Never French seam a yoke on to 
the blouse where there are gathers in the blouse. The yoke 
should be stitched from the right side or hemstitched. If 
it is sewed with the sewing machine the seam should be 
finished neatly on the wrong side by overcasting or binding. 

A Drop Yoke 

The drop yoke on the front of a blouse has considerable 
bias, it is therefore necessary when making a drop yoke 
blouse out of thin stretchy material, to stay the edge of the 
yoke with a piece of the cloth cut lengthwise. Cut this 
strip about one-half inch wide. If there is a selvage edge 
to the cloth this may be used. 

Sew this stay in with the seam. This will prevent the 
yoke from stretching down over the shoulder. Never 
French seam a drop yoke on the front of a blouse, especially 
when the front is gathered. It would not look well from 
the outside. It is best to fold the edge of the yoke under 
and place it on to the gathered body of the blouse and, after 
the stitching is done, finish it on the wrong side with a 
binding. It may be hemstitched or finished with a chain 
stitch. • 

The Kimona Blouse 

The kimona blouse is very simple and may be cut from 
a plain foundation pattern. A lining pattern having French 
lines or a plain lining pattern with darts may also be used. 
Diagram 3 shows a French lining pattern placed on the 
cloth and the kimona blouse outlined. Place your founda- 
tion on the cloth as shown in Diagram 3. The front and 
back of the pattern is set shoulder to shoulder joining 
however only at the neck. This is to avoid bias in back or 
front. On the other hand, should bias be desired, place the 
shoulder lines together. 



74 



The Home Dressmakers' Guide 




DIAGRAM 2 
A Kimona Blouse 



one of the many 
varieties of cuffs 
fashion or indi- 
vidual taste may 
select. Cut the 
cuff to fit the 
wrist, or make it 
the size of the 
hand measure. 

Closing may be 
fashioned at the 
front, to the left, 
or may be made 
in the back. 

Any material 
may be used, and 
for the medium 
sized model 21/2 
yards of 36-inch 
cloth will be re- 
quired. 



It is well to lay a plait upon the 
cloth in front, where the dotted line 
is shown. This plait should start at 
the top like a dart, and be two inches 
deep at the waist line. This is to 
give more and needed fullness over 
the bust. 

Between the two X*s on the back 
of the sleeve, as shown in Diagram 
3, hold in one inch of fullness. This 
will be sufficient to give the elbow 
greater freedom of action. 

This blouse may also be made 
with a seam on the shoulder. Any 
style collar is adaptable; as also any 




DIAGRAM n 



The Home Dressmakers' Guide 



75 




Blouse With Drop Shoulder and Surplus Front 

Begin by using a plain lining with 
darts. From this lining as a foun- 
dation, draft the blouse as shown in 
Diagram 5. 

Draw the line for the shoulder 
from the base of the neck straight 
out to three inches beyond the tip of 
the shoulder. This .i^ives the shoulder 
a drop of three mches as clearly 
shown in Diagram 5. 

This diagram shows the line for 
the under arm seam to be just below 
the armseye, two inches beyond the 
under arm seam of the plain lining. 

DIAGRAM 4 

A. Drop Shoulder 

This may be more 
or less, according 
to the amount of 
fullness desired 
in the blouse. 
Copy the lines of 
the diagram, us- 
ing good judg- 
ment, and no dif- 
ficulty will be ex- 
perienced. 

The surplus 
front is outlined 
by drawing a line 
from the base of 
the neck at the 
shoulder and 
crossing the cen- 
ter front line of 
the plain lining 
at the bust point, 
continue down to 
three inches below the waist line, 
below the bust point is optional. 




DIAGRAM 5 



The amount of fullness 
The back of this blouse 
is outlined in a similar manner as shown by Diagram 5. 
Make the usual allowance for seams and cut. 

Sew the seams of the lining first, then sew the sleeves 
into the lining. Next sew the seams of the blouse and 
finish the drop shoulder with a cord. Then mark the center 
back of the blouse at the neck and the center back of the 
collar and baste the collar on carefully. 

When sewing the collar on finish with a one-inch bias 
facing. 



76 



The Home Dressmakers' Guide 



Face the surplus front or make allowance for a hem 
when cutting. Make a band one inch wide and attach this 
band to the back of the blouse at the waist line, or when 
hemming the bottom of the blouse, put in 1/2-inch elastic. 

Baste the cuff onto the sleeve and finish with a facing, 
the same as for the collar. 

If a thin material, such as Georgette Crepe, is used, em- 
ploy French seams. 

Blouse With a Gibson Plait 



ON FOLD 




DIAGRAM 6 



The Home Dressmakers' Guide 



77 



This blouse is always worn; is stylish in cut and be- 
coming in its lines. Particularly is it adapted to the large 
woman. 

Invariably it makes a good looking tailored blouse, or, 
is equally suitable for a house dress. May be cut out of 
any kind of cloth. 

Diagram 6 shows both the front and back as they will 
appear when cut out, and ready to baste. Place your foun- 
dation pattern on the cloth 5 inches back from the edge. 
(See Diagram 6). 



Having done this, trace for the center front, including 
the outline of the neck. Then measure down the center 
front from the base of the neck 4 inches, and from this 
point draw a line to B, which in turn must be connected 
with A. See A-B in Diagram 6. 

Trace the length of the shoulder and follow this by lay- 
ing a plait 11/2 inches deep, as shown between points X and 
X at the waist line of Diagram 6. Pin your goods down 
and proceed to outline at armseye and under the arm. Al- 
low three inches below the waist for length and fullness. 

The back of this blouse is outlined and the plait is laid 
in the same manner as for the front. (See Diagram 6.) 



.The collar for this blouse, (see Dia- 
gram 6), must be fashioned to the size 
of the neck and may be done as follows : 
Cut a piece of muslin the length of the 
given neck measurement, and as deep 
as you desire your collar to -be. Follow 
the dimensions given in the illustration. 
Conclude by fitting to the neck, getting 
the correct size before cutting the cloth. 

A Gibson plait may be stitched all 
the way down the back, but looks better 
in front, just stitched above the break 
at the armseye. Note the star on the 
front plait in Diagram 6. 




DIACiRAM 7 



78 



The Home Dressmakers* Guide 



Cutting a Blouse From One and One-half 
Yards of Thirty-six Inch Material 




The diagram 
shows how a pat- 
tern may be placed 
on 11/2 yards of 36- 
inch cloth and the 
entire blouse gotten 
out of just that 
amount; and for 
any woman unless 
she is extra large. 
It is n e c e s s a r y, 
however, to piece 
the sleeve under the 
arm. 

The diagram 
shows a sleeve with 
the dart to the el- 
bow but with the 
lower part of the 
under sleeve cut 
from a corner of the 
cloth. It is joined 
to the sleeve as 
shown by "X-X" in 
the diagram. 

To get a sleeve 
with a dart to the 
elbow out without 
piecing, 1% yards 
will be necessary ; 
1% yards, however, 
giving ample mate- 
rial for almost any 
sized woman. 



DIAGRAM 8 



The Home Dressmakers' Guide 



79 



How to Cut a Flat Sailor Collar 



Pin the shoulder seams together 
as illustrated in Diagram 9. If a 
V neck is desired, mark 3 inches 
down from the front of the neck, 
which makes a very good depth 
for the average blouse. 

Then take a piece of paper and 
placing the edge upon the center 
back at the neck (See X-Y, Dia- 
gram 9), trace the line of the neck 
and down the line for the V, and 
shape it to any desired size or 
curves. See Diagram 9 for two 
styles illustrated; one a flat sailor 
collar, and the other Dointed in 
front and rounded at the back. 




How to Cut a Rolling Collar 

When a blouse has been 
cut out, pin the shoulder 
seams together and cut a 
V down from the neck line, 
to the desired depth (see 
Diagram 10), which we 
will say, for an example, is 

3 inches. 

« 

Whereupon, place a 
piece of paper over the 
blouse, with its edge upon 
the fold of the back, as in 
the illustration from X to 
X, Diagram 10, six inches 
in length. Now trace the (^ • 
neck line, as you would for 
a flat collar. 

Determining the Roll 

From the natural shoulder line, as at A, Diagram 10, 
mark down to B at the V point in front, which is 3 inches 
from the front of the neck. For a slight roll, draw a line 
from the shoulder point at A, to C. An increased roll may 




DIAGRAM 10 



80 The Home Dressmakers' Guide 

be obtained by merely widening the angle, so from A to 
C, or D to F. You will notice how straight is the line from 
the back of the neck to F. The straighter you have this 
line, the more the collar will roll in the back. 

Some rolling collars are just a straight piece of cloth, 
cut to the length of the size of the neck. The width at 
the back of the rolling collar, given in this illustration, is 
14 inches across; but, when cutting the half, make your 
draft 7 inches from X to H, and draw a line from H to the 
point at the front from which you are working. 

Work out on paper, various sizes with different shaped 
corners, excellent collar practice, and you will fast become 
expert at this highly important and fascinating part of 
blouse making. 



The Home Dressmakers' Guide 81 



CHAPTER VIII 

CUTTING AND MAKING THE 
ONE-PIECE DRESS 

When we talk about the "One-Piece Dress'' we mean 
a garment all cut in one piece from the shoulder to the 
hem at the bottom. This style of garment may have close 
fitting lines like the Princess gown, or it may have straight 
or semi-fitting lines. It is a matter of choosing the lines 
that will be most becoming to the one who will wear the 
dress. The one-piece dress is most becoming to large fig- 
ures as it gives long lines and can be made to detract from 
the appearance of stoutness. This dress may be made from 
heavy cloth for winter wear and from lighter material for 
summer. 

Lining the Dress 

When a one-piece dress is made from wash material it 
is not necessary to build it on a lining; a lining in a dress 
that is to be washed will make the ironing more difficult. 
When this dress is made from Woolens it is much more 
satisfactory if the waist is lined as it will not only wear 
better but the lining will keep the garment in position on 
the body. It is always necessary to line the waist of the 
evening gown and sometimes the skirt also. 

The lining for the waist of a one-piece dress can be made 
out of strong net. A curtain net will be found to be stronger 
and wear much better than any of the finer Brussel Nets. 
China silk or lawn may also be satisfactorily used. A lining 
lawn can usually be purchased at the lining department of 
any Dry Goods Store. 

How to Make the Lining 

The lining should first be cut from a fitted foundation 
pattern. It should then be basted and tried on, as the 
fit of the finished garment depends altogether on how the 
lining fits. 

It is very necessary that this lining be fitted to the 
body very carefully. Even though the pattern was altered 
to fit perfectly the net will stretch, making a careful fitting 
imperative. In making the net lining fit, it may be neces- 
sary to fold a plait all the way down the center back. Or 
perhaps the two darts at the back will have to be pinned 
deeper. 



82 The Home Dressmakers' Guide 



After the lining has been drawn tightly until it fits 
the body perfectly and the darts at the back sewed firmly, 
the under arm seam may be sewed with the sewing machine. 
Next put the hooks and eyes on to the hem in front. 

How to Sew Hooks and Eyes on a Lining 

Hooks must always be sewed on to the right side and 
eyes on the left. Sew the hooks back from the edge of the 
lining about a quarter of an inch ; with the spacing between 
each, one and one-half inch. This will give sufficient 
strength to the lining. 

Sew the eyes on the wrong side of the edge, with just 
enough of projections to catch the hooks. Then turn the 
edge of the lining over the eyes where the threads show. 

The fullness in front may be gathered instead of being 
taken out in darts. If darts are used they may be sewed 
at the same time with the darts at the back. Having the 
fullness in front gathered will be more comfortable, espe- 
cially for slender folks. 

When the seams and darts are thus taken care of the 
belting must be measured and attached. Measure the belt- 
ing having it one inch longer than the waist measurement. 
This inch is to allow for one-half inch hem at both ends of 
the belting to give strength where the hooks and eyes are 
sewed on. After the hooks and eyes are sewed on find the 
line for the center back by folding the belting. 

The lining should open straight down the front. Mark 
with a pin the center back and folding the belting again find 
where the side seams should come and mark them with pins. 

Next put the belting around the waist, then put the 
lining on, pinning it to the belting. Pin the side seams of 
the lining to the place marked for them on the belting and 
also pin the center back of the lining to the center back 
line of the belting. 

The lining must be stretched down and made to fit 
snugly before it is pinned. After the center back and the 
side lines are pinned the lining may be stretched down and 
pinned here and there distributing the fullness in front 
evenly. 

You may now sew the lining on to the belting by hand 
carefully removing all pins. Having left the shoulder 
seams basted, remove the bastings and, if it is necessary, 
stretch the lining by taking a deeper seam on the shoulders. 



The Home Dressmakers' Guide 83 



If the sleeves of the dress are to be attached to the lin- 
ing it will be necessary to face the lining all around the 
armseye. Use a piece of the material about three or four 
inches deep for the facing. While the shoulder seams are 
open the lining may be spread flat upon the table and the 
facing cut to fit the armseye. 

The facing is sewed in with the shoulder seam and can 
be sewed on to the lining by hand or with the sewing 
machine. When the sleeves are to be sewed into the lining 
it is necessary to have the lining project enough at the 
shoulder to allow for a seam. The lining is now ready for 
the dress. 

How to Bone a Seam in the Lining 

When the style of garment requires a hea\T, strong 
lining and boning, the soft feather bone may be sewed on 
with the machine, resulting in a much stronger seam than 
was procured by the fancy stitches we formerly employed. 

Always hold the bone slightly looser than the seam, or, 
to be more explicit, stretch the seam onto the bone. This 
will insure a nice, smooth waist line. 

To Finish Seams on the Lining 

Bind with a seam binding, or stitch flat in a French 
welt seam. Then after the seam has been sewed with the 
machine, trim off one side of it with the shears, and fold in 
the other edge of the seam, that is, the one not trimmed, 
over the one that has been trimmed, and baste down flat, 
completing the stitch with the machine. 

When fitting a lining or blouse, never cut out the arm 
hole or neck, more than that allowed by your pattern. Snip 
the cloth a bit when it feels tight, and later, before attach- 
ing the collar or sleeve, trim out what is necessary. 

Sewing a Shield Protector Into the Armseye 

Sew in four places; just through the binding, but with 
care, lest the rubber is punctured. This would permit moist- 
ure to penetrate through to the gown. 

Then sew the part that goes inside of the sleeve to the 
seam of the sleeve ; the outside to the under arm seam of the 
blouse, and, the other two ends also to the ^eam of the 
sleeve, just stitching through the binding and seam of the 
sleeve. 

Again a word of caution : Do not get the shield tighter 



84 The Home Dressmakers' Guide 



than the sleeve seam, or you will find you have made the 
armhole both tight and uncomfortable. 

Sewing the Seams and Attaching the Dress 

« 

The side seams of the dress may now be sew^ed up and 
pressed. It may be necessary to clip the seams a few times 
at the waist line, allowing the seam to "Spring" and causing 
the dress to fit more perfectly at the waist line. 

The seams of the skirt may be stayed and finished like 
any separate skirt. The hem may be turned and the placket 
finished as explained in the chapter on making skirts. 

Baste the dress carefully onto the lining and baste the 
shoulder seam of the dress in with the shoulder seam of 
the lining, being careful to baste the shoulder seams as you 
had them after fitting the lining. 

You will find that the dress, when it is finished, will be 
more satisfactory and wear better by being anchored to the 
lining at the shoulder seam and across the back of the neck. 
WTien the collar is attached to the dress the outside cloth 
and lining are sewed together. \^nien the dress is attached 
to the lining in this way the belt at the waist line of the 
lining will help to hold the garment in position. This will 
also make the dress very comfortable as it will fit beauti- 
fully and the well-fitted lining will hold it perfectly in place. 
VvTien the dress has been so far completed the side seams 
may be finished, after which the correct length at the bot- 
tom can be regulated. 

Putting the Sleeve Into the Armseye 

There are various ways to determine where the inside 
seam of the sleeve should be placed when putting the sleeve 
into the armseye. If the under arm seam of the garment 
comes as it should, in the center of the side of the body, 
then, 214 inches in front of the under arm seam will be the 
correct place for the inside seam of the sleeve. This is for 
an armseye of average size. If the armseye is very large 
it will be necessary to measure more than 214 inches in 
front of the under arm seam and if the armseye is very 
small measure less than 2% inches. 

A very simple and yet very satisfactory method for put- 
ting the sleeve in correctly is to find the natural shoulder 
seam or where the natural shoulder seam should come, and 
measure one inch back of this seam. Hold the armseye 
at this point and find the corresponding point at the bot- 
tom of the armseye. This point will be the correct position 
for the inside seam of the sleeve. 



The Home Dressmakers' Guide 85 



The sleeve should always be from 2 to 21/^ inches larger 
than the armseye. This amount of "fullness" should be 
distributed, part at the back and part at the front of the 
top of the shoulder but never on the top of the shoulder. 
See A-B, Diagram 3, in the chapter on making a Tailored 
Coat. 

Sewing the Sleeves Into the Armseye 

If the sleeves are sewed into the lining the armseye of 
the outside dress may be finished with a bias facing. The 
bias facing may be basted on and then stitched and turned 
so none of it shows. It may be turned leaving a little of it 
showing to form a piping. 

If a cord is used to finish the armseye of the dress it is 
first covered with the bias facing. The facing is then sewed 
on and turned allowing the covered cord to show, and is 
sewed on by hand through the cord at the edge of the arms- 
eye. This cord cannot be sewed on with the machine. The 
finishing of the armseye is a matter of choice and also de- 
pends on the prevailing style. 

If the outside dress has a natural armseye and the sleeve 
is to be sewed into the dress it must be attached to both 
cloth and lining and the stitches taken through both. 

Building the Gown 

A gown not cut in one piece but has the waist and skirt 
attached, must be proceeded with a little differently than 
was the case with the dress hanging from the shoulders. 
A dress form will be of great assistance in building this 
gown. If one is not obtainable the one for whom the gar- 
ment is being made must have the gown built upon her. 

First measure the belting and make it the exact size of 
the waist measurement plus one inch. There must be one- 
half of an inch at each end of the belting to turn over 
making it stronger for the hooks and eyes. 

Next find and mark the center back on the belting and 
also the two sides. These marks at the two sides are where 
the side seams of the garment should come on the belting. 

Proceed to fit the lining as you did for the one-piece 
dress. When the lining has been fitted and attached to the 
belting, the outside of the waist part of the dress is next 
draped and arranged over the lining. Be sure the side 
seams of the waist are exactly in the center, not toward 
the front nor toward the back, but where the mark was 



86 The Home Dressmakers' Guide 



made on the belting. Sew the shoulder seams of the dress 
in with the shoulder seams of the lining and when the 
collar is put on the dress is sewed to the lining at the back 
of the neck. 

Next pin the cloth carefully around the waist line, not 
stretching it too tight on the lining and baste the cloth and 
lining together at the armseye. 

The skirt is put on next and if there are side seams in 
the skirt, they must meet the side seams of the waist. Pin 
the skirt so these seams correspond. Pin the center back of 
the skirt to meet the center back of the waist. If there are 
gathers in the skirt arrange them and pin them carefully. 
Two draw threads, half of an inch apart will help hold the 
gathers in place while the skirt is being sewed onto the 
waist. 

Be sure the line for center front is exactly where it 
should be and pin the skirt securely onto the waist. The 
gown is then taken off and the skirt and waist is sewed 
to the belting, sewing through the four thicknesses, the 
skirt, the waist, the lining and the belting. 

The raw edge of the skirt above the waist line may be 
turned under before the skirt is sewed to the waist, or it 
may be finished with a piece of seam binding. Lay the 
binding on flat and sew it on by hand. This will make a 
neat finish. 

An outside belt or crushed girdle will complete this 
gown. 

Whether a belt or a girdle is used will depend on the 
style of the garment. 

The placket in the skirt will be finished like the placket 
in any separate skirt. (See Chapter on Making Skirts.) 

The lining opens down the center front. If the placket 
closing comes to the left it will be necessary to have the 
skirt, from the center front to the closing, separate from 
the belting. Finish this part of the skirt with a binding 
and attach it to the belting with snap fasteners or hooks 
and eyes. 

Where the outside part of the bodice will open depends 
on the style of the garment. After the skirt is attached to 
the waist the hem at the bottom may be regulated. The 
sleeves are put in like the sleeves in any dress. (For in-- 
structions in designing and putting on collars see the Chap- 
ter on Blouses). 



The Home Dressmakers' Guide 87 

A Crushed Girdle 

A crushed girdle is always made from a bias piece of 
material and may be cut six inches wide, or more, according 
to the size and shape of the individual. 

A large shortwaisted figure must have a narrow crushed 
girdle while a tall slender person can wear a wider one. One 
should be sure the girdle chosen is a becoming one as the 
girdle can spoil the whole effect of the gown. A girdle can 
be crushed or draped becomingly to most figures. 

Finish the closing at the side with sash ends or tabs. 
This will help to relieve the stiff look that so often spoils the 
artistic effect. When the girdle is finished it is tacked on 
to the gown. 

Marking the Finished Length 

The finished length cannot be regulated until the skirt 
is attached securely and permanently to the waist part of 
the gown or to the belting if a separate skirt. When the 
skirt is finally attached the length at the bottom may be 
regulated with the yard stick. (See page 69.) 

MAKING SLEEVES 

When Bishop sleeves are made out of sheer material 
such as crepes, voiles, etc., it is necessary to French seam 
the length seams. (For French seams see Chapter on 
Stitches) . 

Preparing the Sleeve for the Cuff 

When the cuff is to be hemstitched gather the sleeve in 
the usual way and put in the gathering thread by using a 
small running stitch. Draw the fullness of the sleeve into 
the size of the cuff. Have more fullness on the top of the 
arm than on the under part. Sew the cuff on using a small 
running stitch and the hemstitching will do the rest. 

When a Cuff Should be Sewed on by Hand 

If the blouse is made out of a good quality of material 
and is to be washed, I would advise sewing the cuff on by 
hand and binding the seam on the wrong side. 

Sewing the Cuff on a Garment of Wool or Silk 

The cuff may be made to fit over the hand or if a closer 
fitting cuff is desired snap fasteners or hooks and eyes may 
be used. 



88 



The Home Dressmakers' Guide 



First, prepare the cuff by making it double, facing it or 
hemming all edges. 

If buttons are to be used for trimming and the cuff is 
narrow, buttons may be used in place of snap fasteners or 
hooks and eyes. 

Gather the sleeve to fit the cuff and sew a binding on 
the edge of the gathered sleeve. Use a piece of the cloth, 
about 11/2 inches wide for the binding. 

When the gathers are* arranged and before the binding 
is put on, be sure most of the fullness is on the upper part 
of the sleeve and not on the under. 

When attaching the cuff find the center and pin the 
center of the cuff to the binding at the inside seam of the 
sleeve. Sew the cuff to the binding by using a slip stitch. 
Follow these instructions when attaching the cuff to the 
sleeve and you will find it an easy way and when the gar- 
ment is finished the cuff will look well put on. 

// you were going to cut the cuff to actual measurement 
it will be necessary to measure the arm. 

Measure first where the 
cuff is going on the arm. It 
may be just below the el- 
bow or it may be half way 
between the elbow and the 
waist. 

Next measure the size 
of the wrist and also the 
length of the cuff. 

Cut the cuff out of pa- 
per first, allowing for 
seams, and try it on the 
arm. 

The cuff must have 
room enough to slip easily 
up and down on the arm 
when one is reachirig. Just 
a suggestion is given in 
Diagram 1. 

The dotted line marked 
"B" shows the under part 
of the cuff to be narrower 
than the upper, bringing 
the seam in the right place 
on the arm. 




DIAGRAM 1 



The Home Dressmakers' Guide 89 



Finishing a Close Fitting Dress Sleeve 

This sleeve may have a dart to the- elbow or it may be 
a two-piece sleeve. If it is made of sheer material the 
seams will have to be French seamed. 

Baste up the inside seam first, starting at the top and 
basting to the wrist. Then baste the elbow seams from the 
bottom up. In the instructions on altering the pattern for 
a sleeve with a dart to the elbow, the necessity of having the 
upper sleeve one-half inch longer at the wrist than the 
under part of the sleeve was explained. (See Diagram 7 in 
the Chapter on ''Altering a Sleeve Pattern"). 

This half of an inch is for "fullness" at the elbow, half 
above and half belov/ the elbow. (See E. E. Diagram 7.) 
When basting the elbow seam it is necessary to begin at 
the bottom and distribute this fullness at the elbow. This 
one-half inch of cloth must not be allowed to pucker or 
form gathers at the elbow, but is held full onto the under 
part of the sleeve giving room for the elbow and making a 
comfortable sleeve. Try the sleeve on after it is basted. 
Sew the inside seam on the machine. 

It is often necessary to clip the inside seam to cause it 
to fit well and give an easy graceful look to the sleeve from 
the right' side. The seam is not clipped straight but the 
slash is made bias and is clipped from the edge to near the 
stitching. Be careful not to clip the stitching. 

Overcast or bind this seam. Sew and overcast or bind 
the elbow seam. 

A piece of bias binding at the wrist will prepare the 
sleeve for the cuff. 

This style of sleeve may be finished with a small turned 
back cuff or it may have a flared cuff projecting over the 
hand. A cuff that tapers over the hand, having long points 
at the back will look especially well on the short thick arm. 



90 



The Home Dressmakers' Guide 



CHAPTER IX 

CUTTING AND MAKING 
THE TAILORED SUIT 



We are to consider first the reg- 
ulation tailored suit coat and the 
instructions given will apply to the 
coat illustrated in Diagram 1. 
First, the measurements of the one 
for whom the suit is being made 
should be taken carefully. (See 
Chapter on Measurements.) 

The measurements should then 
be applied to the pattern and the 
pattern altered to fit the individ- 
ual. All measurements are applied 
to the pattern as for any garment 
except the bust and waist meas- 
urements. 

Measure and alter the pattern 
to your own length , measure- 
ments; length under the arm; 
length of back; length of front; 
length of shoulder and around the 
armseye. 

The armseye of a coat must be 
at least one inch larger than the 
measurement taken as the arms- 
eye for a suit coat must be larger 
than the armseye of a dress. 

When the alterations have 
been made pin the pattern to- 
gether with all seams on the out- 
side and the seams pinned to allow 
all the seam allowance given on 
the pattern and shown by the per- 
forated lines. 

Try the pattern on. 

It is hardly possible to alter a 
suit coat pattern to fit perfectly 
without making alterations after the pattern has been 
tried on. 

The coat must be balanced perfectly. It is also very 
necessary that the pattern fits without a bulge over the 




DIAGRAM 1 



The Home Dressmakers' Guide 91 



shoulder blades at the armseye. See that it fits smoothly 
and perfectly across the chest at the armseye. 

It may be necessary to fold plaits in the pattern at 
either the back or the front, or both, between the shoulder 
and the bust line. 

Make any necessary alterations in the pattern while it 
is on the individual and be sure it is plainly marked before 
unpinning it. 

Mark all seams and alterations with pencil. 

Do not be afraid to pencil mark the pattern and let me 
assure you that it is better to spoil several patterns than to 
spoil the cloth. It is not difficult to make a beautiful tail- 
ored suit provided you cut it right and this can only be ac- 
complished by working with the pattern. Decide on the 
length you want the coat and also make the pattern confirm 
to the desired width at the bottom. 

Before the coat is cut from the cloth be sure the material 
is sponged and shrunk. 

Special attention must also be given to the wrong side 
and the right side of the cloth ; be sure which is which. The 
inside of the folded cloth as it comes from the store is usual- 
ly the right side. Also be certain of the up and down or 
the grain of the cloth. I have known experienced home 
dressmakers to make a mistake and cut the garment with 
part having the nap running up and part with the nap run- 
ning down. This, of course, was with cloth that was hard 
to distinguish. Smooth the hand over the right side of the 
material. The nap running up will feel rough while the 
smooth feeling will show the nap running down as it should. 

Placing the Pattern on the Cloth 

The front section of the pattern is placed on the straight 
edge of the cloth and pinned carefully. The back section 
of the pattern is also placed on the straight line of the 
material. If there is a panel back the center back of the 
pattern is placed on a fold of the cloth. 

The side front section of the pattern and the side back 
section of the pattern must be placed on the cloth carefully 
as the grain of the cloth must run on a perfect line. (See 



92 The Home Dressmakers' Guide 



Diagram 4, and notice the line marked "Straight Line" on 
the side front and side back sections.) 

Also place the waist line of the pattern on the "across 
grain" of the cloth. By "across grain" we mean the woof. 
The lengthwise threads of the cloth are the warp and the 
threads crossing the warp are the woof. The waist line is 
therefore placed on the threads called the woof. 

Pin all of the pattern on the cloth before cutting any 
part of the garment. The under collar is placed on a 
true bias while the upper collar is placed on the across 
grain of the goods. The sleeves are placed so the center 
back of the sleeve, from the shoulder to the elbow, comes 
on the lengthwise grain of the cloth. 

When cutting out the garment it is best to cut the skirt 
first as the sections of the skirt are the largest and often, 
where there is no "up or down" to the cloth, the coat sec- 
tions can be fitted in, making the cutting more economical. 

Cutting the Cloth 

Having pinned all the sections of the pattern onto the 
cloth, proceed to cut the garment out carefully leaving all 
the pattern pinned to the cloth until all seams, waist line, 
bust line, hem, yokes, pockets, etc., are all marked with 
tailor tacks, (for tailor tacks see Chapter on Stitches). 

Marking With Tailor Tacks 

The tailor tacks are put in through the paper pattern 
and the two thicknesses of cloth. Take the stitches follow- 
ing the outline marked on the pattern and when the threads 
are clipped the pattern can be removed and both sides of 
the cloth will have been marked alike and are ready for 
basting. There is no other way to get the garment per- 
fectly together. 

Putting in Canvas 

When the cloth for the coat has been carefully cut as 
outlined, proceed to cut the canvas. It is always best to 
select a good quality of tailors linen canvas. Whether the 
coat will hold its shape or not depends on the quality of 
canvas. This canvas is to support the neck, shape the lapel, 
hold the front of the coat in shape and strengthen the 
armseye. 



The Home Dressmakers' Guide 



93 



The canvas must be shrunken before it is cut. Lay it, 
folded just at it comes from the store, in a pan of cold 
water and leave it for two hours. Take it out and lay 
it over the clothes line until nearly dry. It can then be 
pressed with a warm iron. The canvas is always cut on 
the same grain as the cloth which is lengthwise. 

The Front Section 

Cut the canvas the full size of the front section. See 
Diagram 2, showing the canvas covering the front section. 

Side Front Section 

The canvas for the side front section is cut as shown 
by Diagram 2. The canvas should be 21/2 inches deep 
under the armseye, and be 2 inches wide at the bottom. 




Back Sections 



DIAGRAM ;{ 



The canvas is cut for the back of the coat as shown by 
Diagram 3. When the back of the coat is in two sections 
the seam is basted temporarily and the canvas is put in for 



94 



The Home Dressmakers' Guide 



a try on. Afterward the seam may be sewed and pressed 
open and the canvas put in finally in the same way. The 
canvas across the back is three inches in depth at the center 
back (See ''B," Diagram 3.) 

The canvas around the armseye is 21/^ inches deep under 
the arm to meet the canvas on the side front. (See A, Dia- 
gram 3.) 

The canvas around the armseye is not attached to the 
canvas at the back of the neck. They are both separate, the 
canvas around the armseye lapping the canvas of the back 
of the neck at the shoulder. (See C, Diagram 3.) 

The canvas is sewed in with the shoulder seams. (See 
also Diagram Uy showing the canvas by dotted lines on all 
four sections). 




DIAGRAM 4 



The Home Dressmakers' Guide 



95 



^ CANVAS '/\^ 


'/ 


Qf/A 


/ 
/ 


,-,-.^----Vi!< 1 


/ 
/ 


-T^^ 


/ 


// 


/ 


^ / 




/ / 


/ ; 


1 


/ / 


j 


/ / 
/ / 
/ / 


CLOTH 


/ / 




/ / 




/ / 




/ / 




', / 




^f<- 






DIAGRAM 5 



When the Front is in One Piece 

The canvas for a coat that is 
not a regulation coat, but hav- 
ing the front in one piece, is cut 
as shown by Diagram 5. 

The canvas for the back of 
any coat it cut as shown by Dia- 
gram 3. 

When the garment is a full 
length coat, the canvas extends 
to the bottom and is also four 
inches wide. When a coat has a 
peplum, the canvas does not ex- 
tend below the waist line. 



Basting the Cloth onto the Canvas 

When the canvas has been prepared and cut as described 
in the foregoing instruction, the next thing is to baste the 
cloth onto it. 

Do not make the mistake of basting the canvas onto 
the cloth. If you do, the cloth will be puckered and full in 
places and stretched in others. 

Lay the canvas on the table with the cloth on top, and 
beginning at the top, baste down, smoothing the cloth with 
the left hand, and using the diagonal basting stitch. The 
cloth must be basted to the canvas securely, especially 
across the back and around the armseye. 

The First Try-on 

It is advisable to try the coat on now, before the seams 
are sewed with the sewing machine, and after the canvas 
is in. Even though the paper pattern fitted perfectly the 
cloth will often take a different position on the body because 
the cloth will stretch and the paper pattern will not. There- 
fore, it should be tried on in the baste and with the can- 
vas in. 

If alterations are necessary they must be made at this 
time. 



iH) The Home Dressmakers' Guide 

Be sure the coat balances perfectly. It may be neces- 
sary to drop the front of the coat or lift the back. This 
was done in the pattern but sometimes the coat will need 
to be balanced as well. 

Open the shoulder seams and cause the garment to hang 
properly. It is always best to have a good shoulder seam. 
If the coat has been lifted it may be necessary to trim out 
the armseye. 

The coat may be made more from fitting or it may be 
attached permanently. 

There are two ways of putting the canvas in the front 
of a lady's coat. The easiest way for the home dressmaker 
is to first baste the cloth onto the canvas and when sewing 
the seams, sew the canvas in with the seam ; that is, sew the 
four thicknesses, the two of canvas and the two of cloth in 
the one seam. Remember, this is just for the front of the 
coat; the back is operated differently. 

Another way used by many tailors, is to sew the seams 
in the cloth, for the front of the coat, and press them open 
or baste them down flat and stitch a welt seam, stitching 
on the right side. Sew the seams in the canvas and press 
them open and attach the seam of the canvas to the seam 
of the cloth, using a tacking stitch. 

Hair Cloth 

If hair cloth is used in the front of the coat, it must be 
cut as outlined in Diagram 4. See the dotted lines marked 
*'hair cloth" in Diagram 4. The hair cloth must be cut 
crosswise to get the benefit of the stiff hair in the weave. 

For a large full bust it will be necessary to cut a dart 
in the hair cloth at the seam of the canvas to make it fit 
smoothly on the canvas. Cut the dart and just lap the 
edges of the hair cloth. 

The hair cloth is sewed onto the canvas, sometimes with 
the sewing machine, but more often by hand, using the 
diagonal basting stitch. The hair cloth is padded to the 
canvas before the canvas is attached finally to the coat. 

If the hair cloth is put on with the sewing machine it is 
stitched around and around, beginning at the center and 
stitching in circles to the outer edge. 

Binding the Hair Cloth 

All the edges of the hair cloth must be covered with a 
strip of lining cut one inch wide. This is to keep the hair 



The Home Dressmakers' Guide 



97 



from working through the lining. Binding the edges of 
the hair cloth will serve the same purpose. 

The Back of the Coat 

The canvas for the back of the coat is not sewed in with 
the length seams. 

Sew the two back sections together and press the seam 
open. It may be necessary to clip the seam at the waist line 
if the garment is form fitting. Clip the seam here and there 
making the slash bias. If the garment is finished with welt 
seams, these seams will then be finished in the same way. 

The canvas across the back of the neck is sewed in with 
the shoulder seam only and is not attached to the length 
seam. 

The canvas around the armseye laps the canvas for 
the back of the neck at the shoulder and is also sewed in 
with the shoulder seam, and with the under arm seam. 
(See Diagram 3.) 

The Roll of the Lapel 

After the canvas is in, try the coat on to 
determine where the lapel should roll on the 
neck. 

Always be very careful where you turn 
the roll of the lapel. If it is turned on a 
line with the neck, as shown by '*A," Dia- 
gram 6, there will be no room for the stand 
of the collar and the coat will continually 
pull away from the neck. 

The line upon which the lapel must roll 
is shown by *'B," Diagram 6, and is about 
one inch in front of the neck line. This is 
very necessary if there is to be a good-look- 
ing line on the collar and lapel. 

After the line for the lapel is found, and 
both lapels turned exactly the same, dampen 
and press the lapels in place with a hot iron. 
Press hard and the lapels will always stay 
in place. 

Padding the Lapel 

This padding is performed with a succession of small 
stitches, through both canvas and cloth, to hold them to- 
gether and keep the lapel in shape, as well as to prevent 
the canvas from slipping. For this purpose we use the 
small slanting stitch, similar to the diagonal basting stitch. 




DIAGRAM « 



98 



The Home Dressmakers* Guide 



The large stitch is on 
the canvas, while the small 
one is put through just far 
enough to catch the cloth 
and hold the two together, 
as already stated. This is 
done from the canvas side. 
(See Diagram 7.) The 
stitches are put in rows 
about a quarter of an inch 
apart. 

After first outlining 
the desired size and shape 
of the lapel with a lead 
pencil, and before padding, 
cut aw^ay the canvas, leav- 
ing the cloth to extend for 
a seam upon which to sew 
the facing. (See lapel, Dia- 
gram 7,) 

Then take a flat linen 
tape 1/2 irich wide and 
baste it upon the edge of 
the canvas, and on the under side of the 
line where the lapel is turned. Some- 
times it is necessary to hold the lapel full 
and the tape taut. This will be necessary 
sometimes to shape the front of the coat 
over the bust. First baste the tape on and 
then cross-stitch it. (See Diagram 8.) 

This diagram shows the inside of the 
coat with the tape cross-stitched on the 
under side of the lapel and on the edge 
where the lapel is turned. The tape, as 
shown by Diagram 8, extends part way on 
the neck. 

This holds the bias at that place. 
Notice how the tape is turned at the top 
of the lapel and made to fit around the 
neck. The tape also is shown extending 
to the bottom of the coat. 





DIAGRAM 



The Home Dressmakers* Guide 99 

This holds the coat in place, prevents the cloth from 
stretching and causes the coat to hang perfectly in front. 
"A" shows the tape cross-stitched at the edge of the canvas 
and "B" shows the seam of the cloth, from which the canvas 
has been trimmed away. It is to this seam of cloth that 
the facing is sewed. 

The tape will hold the front of the coat firm and keep 
it from sagging. Before putting on the facing, however, 
press carefully. 

Place the right side of the facing upon the right side 
of the coat, and baste it on carefully. Then sew with the 
machine, after which you will turn and baste on the edge 
of the facing ; the same on the back edge. 

Sew to the canvas with a large hemming stitch, and 
complete by sewing all the other seams in the coat, after 
which press the garment carefully. After the lapel is pad- 
ded and the tape cross-stitched, you are ready for the under 
collar. 

How to Cut an Under-Collar 

Lay a piece of tissue paper over the neck of the coat 
the size of the collar, and commence by marking front **A'' 
(See Diagram U)> "A" is II/2 inches from the front of the 
lapel ; this amount is allowed for the step and can be more 
or less, according to the prevailing style. 

Next place a mark at the junction of the neck line and 
the straight line marked for the lapel ; this is shown by ''E" 
(See Diagram 4^). Then place a mark II/2 inches from the 
neck on the shoulder line ; this is shown by "D" in the dia- 
gram. Now draw the neck line from ''A," following the 
neck line of the coat to ''E"; from ''E" to "D," and from 
"D" continue up to **B." The length of this line, or the dis- 
tance from "A" to **B," is determined by measuring the 
neck of the coat from the step "A'* to the center back of 
the neck. 

*'B" is readily seen to be the center back of the collar. 
From **B" to the stand line is II/2 inches. This may be 
less or more, and is governed by the desired stand of the 
collar. From the stand line measure out 2 inches to *'X." 
This is for the depth of the roll at the center back. 

Now go back to "A" and draw a line II/2 inches to "X" ; 
this is for the step. From "X'* to "X" draw a line with a 
slight curve (See Diagram U-) This will give you a collar 
that will fit the neck of the coat for which it is cut, per- 
fectly. 



100 The Home Dressmakers* Guide 

A little practice will make this very easy. Allow for 
seams when cutting. 

Any shaped lapel or collar may be substituted for this 
one. 

Both canvas and cloth are cut decidedly bias. This, 
obviously, is to allow the stretching at the edges to shape 
to the neck of the coat. The stand at the back is stitched 
with the sewing machine, whereas the remainder is padded 
similar to the lapel ; stitched in rows one-fourth of an inch 
apart, beginning at the machine stitching and going out to 
the edge of the canvas. 

This canvas is to be cut off to the depth of the seam, 
upon which is sewed the upper cloth of the collar. The 
under collar is fastened to the body of the coat with a 
small cross-stitch. If the cloth is firm and does not ravel, 
the collar may be sewed on raw edged, which will result in 
a smooth, flat finish. 

It is necessary that the back of the under collar have a 
slight curve, therefore cut the collar having a seam in the 
center of the back and cut it, not straight, but slightly 
curving in. 

The canvas for the under collar is cut on the same grain 
as the goods, bias, and must be cut the same size and shape, 
also having a seam at the back. Sew the seam in the cloth 
and the canvas separately and lay the canvas on the wrong 
side of the cloth with the seams on the inside and fasten the 
seams together securely. The seams are therefore not ap- 
parent. 

The cloth for the under collar must be padded onto the 
canvas, partly with sewing machine stitching, and partly 
with the small diagonal stitch with which the lapel was 
padded. See ''X," Diagram 9, showing the machine stitch- 
ing, and "0," showing the diagonal stitching. 

The machine stitching as shown by "X," Diagram 9, is 
the "stand'* of the collar and is the part that is attached to 
the neck of the coat. 

The diagonal stitching shown by "0" is that part of the 
collar called the ''roll" and is turned back over the stand. 

The machine stitching is put in first, beginning, not at 
the edge and working toward the center, but beginning at 
the longest row of machine stitching and sewing back and 
forth, each succeeding row of stitching getting shorter, 
until the edge of the collar is reached. 

Likewise the diagonal stitching is put in, beginning at 
the machine stitching and working toward the other edge 



The Home Dressmakers' Guide 



101 



of the under collar. The machine stitching does not occupy 
half of the collar, but a little less than half, as the stand 
must be not quite as high as the roll that covers it, other- 
wise the stand of the collar would show on the finished coat. 
The machine stitching is therefore as deep as the collar is 
high. (See Diagram 9.) 




DIAGRA3I 9 

The Length of the Under-Collar 

The under collar should not be cut until the neck of the 
coat fits perfectly. Then measure from the center back of 
the neck of the coat to where the lapel rolls. 

This is half the length of the longest row of sewing ma- 
chine stitching. The top row of sewing machine stitching 
should be on the line where the lapel turns. (See Dia- 
gram 6.) 

Measuring from the center back on the neck of the coat 
to where the "step" comes on the lapel will give the length 
of the under collar, cut double. When the under collar is 
thus prepared it must be shaped to fit more perfectly the 
neck of the individual. 

Shaping the Under-Collar 



Diagram 9 shows the under collar with the machine 
stitching and the padding ready to be shaped with a hot 
iron. Place the collar flat on the pressing board with the 
canvas side up and the stand of the collar away from you. 
Moisten the whole surface of the collar with a wet sponge. 
Take the hot iron and press the stand side of the collar, 
stretching the edge both ways from the center as you pro- 
ceed with the pressing. 

When the stand side of the collar is dry, turn the other 
edge of the collar away from you and press and stretch the 
edge of this side of the collar in the same way until the 
collar is all dry. 

When the collar is thus shaped fold it on the line of the 
longest inside machine stitching and the under collar will 
have the proper shape as shown by Diagram 7. 



102 The Home Dressmakers' Guide 



Attaching the Under-Collar 

Before this collar was thus shaped, the canvas was cut 
off the depth of a seam as shown by the shaded lines in 
Diagram 9. 

The under collar is now placed on the body of the coat. 
Turn the edge of the collar back like a hem and lay it flat 
onto the body of the coat. Baste it on carefully, beginning 
at the center back and working toward the lapel; first one 
side, then the other. Sew the under collar to the coat, using 
a small cross-stitch. This will be made very plain if a well- 
tailored coat is examined. 

Cross-stitch the canvas of the lapel to the canvas of the 
collar and press it down and the coat is ready for the upper 
collar and facing. 

Try the coat on to ascertain if the collar is shaped be« 
comingly and is the proper width where it joins the lapel. 
Mark the canvas with a pencil while it is on the neck, mak^ 
ing it the desired size and shape. The collar can then be 
trimmed, following the penciled lines. 

Putting on the Facing 

Before the tape for the lapel and the front of the coat 
was cross-stitched to the edge of the canvas, the canvas was 
cut away the depth of a seam. 

Beginning at the step, the canvas was trimmed off all 
the way down the front and across the bottom as far as the 
facing extends. 

The facing is laid onto the body of the coat with the 
right side of the facing next to the right side of the coat 
and the facing stitched to the coat, not through the canvas, 
but following the edge of the canvas. 

Stitch from the top to the bottom and continue th« 
stitching across the bottom to the edge of the facing. Turn 
the facing back to the inside of the coat, and, after turning 
the back edge of the facing in like a hem, sew to the canvas 
with a large hemming stitch. 

When the canvas is trimmed off, the corners at the 
lapel and at the bottom of the coat must be rounded. I do 
not mean to cut it decidedly round, but just clip the sharp 
corners off and when the facing is turned back you will 
have neat square corners. 



The Home Dressmakers' Guide 103 

The Upper Collar 

The upper collar must always be cut crosswise on the 
cloth, or, in other words, following the same grain as that 
of the coat. The cloth for the upper collar must be cut 
generously and a little larger than the under collar ; it must 
never have a seam, but be cut in one piece. 

Place the upper collar onto the lower collar with the 
right side of each laid together. Baste the two together 
carefully and sew with the machine, following the line of 
the canvas, but not sewing through the canvas. The upper 
collar is then turned over the under collar like any facing. 

Where the upper collar and facing join, the edge of each 
is folded under and these folds are brought together evenly 
and basted. When they are finally joined together they are 
sewed by hand, taking a stitch first in the facing, then in 
the collar, and drawing the stitches tight, thus bringing 
the two edges together perfectly. Where the facing ends 
at the shoulder seam, the cloth of the upper collar is 
trimmed off and left raw-edged and hemmed down to the 
body of the coat. The lining covers this raw edge. 

Finishing the Hem 

The canvas is not turned up with the hem, but is cut off 
where the hem turns. Where the canvas is covered with 
the facing it extends to the bottom of the coat minus the 
seam, as has been explained. 

When the hem is turned, baste a stay on the inside of 
the hem. This stay may be made from a piece of cambric, 
cut crosswise, and just as wide as the hem. Attach this 
stay to the edge of the hem with a running stitch and tack 
the hem to each seam of the coat. This will help to hold 
the hem in place when the lining is attached to it. 

The hem must be pressed before the lining is put into 
the coat. 



104 



The Home Dressmakers' Guide 



CHAPTER X 

THE SUIT COAT SLEEVE 

The sleeve for a Tailored suit must of necessity be closer 
fitting than the fuller Sport Coat or Top Coat Sleeve. There 
must be room for the action and natural curve of the arm, 
and yet, unlike the two-piece dress sleeve, for instance, 
which clings to the arm and follows its every movement, 
the tailored sleeve requires straighter lines, and attention 
must be given to have the right balance. 

It must also be remembered that the under sleeve must 
be one-half inch longer than the upper sleeve (See Altering 
the Sleeve Pattern, Chapter V). 

How to Baste and Make This Sleeve 

Proceed to baste the inside seam 
in the same manner as for the dress 
sleeve previously considered. Pin 
the under and upper sleeve parts to- 
gether. 

Commencing at the top, hold the 
half inch of fullness in the under 
part onto the upper part, between 
top and elbow, as clearly illustrated 
between X and X in Diagram 1. This 
fullness is necessary to shape the 
sleeve and make it hang properly. 
Moreover, this is only done in a coat 
sleeve. 

This completed, sew the seam, 
and, after dampening slightly with a 
wet sponge, press the seam open with 
a hot iron. (See ''B," Diagram 2, 
showing the seam pressed open and 
clipped.) 

When sewing the front seam, and 
especially if you are using a sewing 
machine, stitch the seam so that no 
gathers will appear. This may be 
done by stretching the seam when 
stitching so that the upper part will 
be stretched to the full length of the 
under part. 

Now cut a piece of tailor's canvas, about 5 inches deep, 
and lay the sleeve flat upon the table, pinning the canvas 




DIAGRAM 



The Home Dressmakers' Guide 



105 




^ DIA(iRA.>I 1' 

across the wrist. (See Diagram 2.) Diagram 2 shows a 
coat sleeve with the inside seam pressed open and clipped. 
(See "B.") The canvas is shown with the arrows marked 
"C" pointing to where the canvas is tacked to the inside 
seam to prevent it from working down after the sleeve is 
finished. 



The letter **A" points to the upper lap on the top of the 
sleeve which is turned back. These laps are finished like 
a placket in a tailored skirt. (See Plackets, Chapter VI.) 

Pin the outside seam from the wrist to within 1% inches 
of the elbow, and likewise from the top down to II/2 inches 
of the elbow. This will give the 3 inches necessary to hold 



106 The Home Dressmakers' Guide 



in the fullness which must be provided at the elbow. Baste 
and sew. (See Diagram 1.) 

There must be no puckers or gathers in the outside seam 
at the elbow; work the gathers out when stitching. This 
may be done by using a large pin to keep the presser foot 
on the machine from shoving the gathers, for this would 
not look well in a tailored sleeve. Press this seam open. 

Turn and baste the wrist hem on the marked line, fasten- 
ing down the edge of the hem to the canvas with a hemming 
stitch. 

The sleeve is then ready for the lining. 

The Lining 

The sleeve lining is always cut the same size as the 
sleeve ; but, when sewing the seam, just stitch inside of the 
basting, as it is necessary to have the lining a trifle smaller 
than the outside. 

Baste the inside seam of the lining first, and then the 
back seam. Do not press the seam open, but lay the lining 
upon the press board with the upper side of the lining next 
to the board and with the seams up. Press the seams flat. 

How to put the Sleeve Lining Into the Sleeve 

The sleeve lining should always be put into the sleeves 
before the sleeve itself is sewed into the coat. Lay the 
sleeve inside out upon the table and the lining also inside 
out upon the sleeves. 

Note: The sleeve is not inside the lining, but is sepa- 
rate, the lining on top. Pin the front seam of the sleeve 
and the front seam of the lining together. 

Be cautioned against holding the lining tightly. If it is 
tighter than the outside you will find yourself in a dilemma 
when the sleeve is turned right side out. 

Now pin the back seams together and sew both with a 
running stitch. By inserting the hand inside of the lining, 
draw the sleeve inside of the lining, turning the sleeve so 
that the right side of the lining will be on the outside. Turn 
in the lining at the wrist and baste to the hem of the sleeve. 

Conclude the operation by re-inserting the hand inside 
of the sleeve and turning it right side out, after which you 
may run a basting thread around the sleeve about 5 inches 
from the top. This holds the lining in place while you are 
sewing the sleeve into the coat. 



The Home Dressmakers' Guide 



107 



Where to Place the Front Seam of 
a Sleeve in an Armseye 



' The front seam of the sleeve 
is placed about 2% inches in 
front of the under arm seam; 
that is, for the average woman. 
This should be more or less, as 
the armseye is larger or smaller. 

Indeed, a reliable method 
often used is that of holding the 
armseye from an inch back of 
the shoulder seam on a perfect 
bias. The point reached on the 
front of the coat is then the 
guide for the front of the sleeve. 

Sleeves for sport coats, long 
coats, and, in fact, all top coats, 
must be cut larger than the suit 
coat sleeves. That is, all cir- 
cumference measurements must 
be increased according to the 
size desired. 





DIAGRAM 4 



DIAGRAM 3 

The sleeve for the coat must 
be from 2 to 21/2 inches larger 
than the armseye, and this full- 
ness carefully distributed as 
shown by ''A" and **B'^ in Dia- 
gram 3. 

There must not be even the 
suggestion of a pucker or gath- 
ers at the top of a coat sleeve. 
The coat is turned inside out 
and the sleeve sewed into the 
armseye from the inside. (See 
Diagram Uy showing the 
sleeve being basted from the in- 
side.) 



\ arms 
\ sleev 



108 The Home Dressmakers' Guide 



Having sewed the sleeve into the armseye of the coat 
and the seam pressed open, you are ready to insert the 
''roll" for the top of the sleeve. This roll is made from two 
or three thicknesses of sheet wadding and is cut oblong and 
folded lengthwise, making one edge straight while the other 
edge is curved. 

This roll should be about six inches long. It is attached 
to the sleeve part of the armseye seam of the coat. 

Baste the top of the sleeve lining to the armseye seam 
and sew it down by hand using a long running stitch. When 
the lining of the coat is put in, it is sewed onto the sleeve 
lining at the armseye. This gives a neat looking finish and 
also wears well. 

When the coat is put on the arm will not rub the sleeve 
lining seam but will pass over a smooth surface causing the 
lining to wear longer. 

Pressing 

One of the greatest difficulties the Home-dressmaker 
experiences in pressing is in keeping the cloth from looking 
shiney and becoming marked. This is owing to the sponge 
cloth being pressed until it becomes dry. The iron should 
always be lifted from the sponge cloth while there is steam 
in the cloth of the garment being pressed. 

It is this steam and the fact that the press cloth is not 
dry, that keeps the cloth from being shiney and marked 
and the seams from showing through. 

If there are shiney spots or marks from pressing on the 
cloth, place a wet sponge cloth over the places and put a 
hot iron on the sponge cloth and take it off quickly. This 
is called ''steaming." The shine, thread marks, or creases 
from former pressing, can all be removed by steaming. 

A piece of unbleached muslin or a piece of tailors can- 
vas makes a good sponge cloth. 

When pressing the seam of a woolen garment always 
press the seam on the wrong side. Dampen the seam first 
with a wet sponge and use an iron hot enough to sizzle. 

When the hem of a dress or skirt is being pressed, place 
the garment on the table inside out and place the sponge 
cloth on the wrong side of the hem. Dampen the sponge 
cloth with a wet sponge and press with a warm iron until 
the sponge cloth is nearly dry. Lift the sponge cloth off 
while there is steam in the garment and this will prevent 
the hem from looking shiney and marked. 



The Home Dressmakers' Guide 109 

Any part of a garment where there is canvas should 
be pressed on the canvas side. 

It is almost necessary to have a hot iron handy at all 
times when making a tailored suit. Each part should be 
pressed as it is made. For instance, when the roll of the 
lapel is determined it should be pressed. This is also an 
instance where the garment is pressed on the canvas side. 
Each seam should be pressed as it is finished. The sleeve 
should be well pressed before it is finally sewed into the 
armseye. When the canvas of the under collar is attached 
to the canvas of the lapel it must be pressed. 

When pressing on the canvas rub the canvas with a wet 
sponge and press until the canvas is dry. 

Always use a thick sponge cloth on the right side of a 
garment, as a thick cloth holds the steam, and take the 
sponge cloth off while the steam is still in the garment. 

A piece of tailors canvas is decidedly the best to use, 
for a sponge cloth, for the right side of a garment. Dampen 
the canvas with a sponge and press with a warm iron. 

The armseye seam can be pressed by putting the end of 
the pressboard, or sleeveboard, into the armseye from the 
right side. 

If you have no sleeve board and you are pressing seams 
in the sleeves, or any seam where it is not best to touch the 
cloth with the hot iron, a broom handle will be found to 
work very satisfactorily. 

Making the Button Holes 

First, decide on the number of buttons for the front of 
the coat. If individual taste or prevailing style selects 
three as the number they must be placed properly. It is 
not sufficient that the buttons be evenly spaced, the proper 
position for each button is equally important. 

With the regulation lapel one of the three buttons must 
be placed on the waist line, one below the bust line and one 
above the bust line. 

Never place one of the buttons right on the bust line, 
especially if the bust is prominent. 

Always have one on the waist line so there will be an 
unbroken line around the waist. 



no 



The Home Dressmakers' Guide 




After the position of the buttons the 
next in importance are the spaces between 
each button ; they must be the same. (See 
••A," Dia grain 5.) 

Having determined the position of the 
buttons and the space between them, the 
next in order is the size of the button hole. 

Place the button on the place marked 
for it on the cloth and mark the diameter 
of the button. Now, mark each button 
hole exactly the same size. 

It is important that the round hole in 
the outside edge of the button hole be, at 
least, 1/2 inch from the edge of the coat, 
or 1/2 inch back from the stitching if there 
is stitching showing at the edge of the 
coat. (See Diagram 5.) 



DIAGR.IM 5 



Cutting the Button Hole 

The round hole at the outside edge of a tailored button- 
hole is made with a button-hole punch. This button-hole 
punch is similar to an eyelet embroidery punch and can be 
obtained at any hardware store. 

Before punching the hole or cutting the button-hole if 
the cloth is a loose weave, put in one row of sewing machine 
stitching each side of the mark for the diameter of the 
button. Make this stitching the length of the button-hole 
and cut in between this stitching. This will hold the cloth, 
canvas and facing together and will also keep the button- 
hole from ravelling. 

Make the hole with the punch first, at the outer edge, 
and then cut the button-hole. 

Sometimes overcasting the edges of the button-hole will 
be all that is necessary. 

This tailored button-hole is finished with a cord called 
**guimp." The guimp is used on the edge of the button- 
hole. (See ''0," Diagroju 5.) Place the end of the cord 
between the two thicknesses of cloth at the inside end of 
the button-hole. Hold the cord evenly on the edge of the 
button-hole and take the button-hole stitches over the cord. 
The cord will make a strong button-hole. This is called the 
"Purl." 



The Home Dressmakers' Guide 111 

Begin to stitch at the inside end of the button-hole (See 
''X," Diagrayn 5) and stitch the cord first to the edge of the 
button-hole next to your left hand. Work out to the edge 
and continue around the punched hole and back to the in- 
side end again. 

To secure this end of the cord and make a neat finish at 
the inside end of the button-hole, a bar can be made. Take 
about two stitches across the end and wind the thread 
around these stitches doing so with the needle. This is not 
a button-hole stitch but just working the thread around 
the first two stitches and making it look like a cord. 

Sewing on the Buttons 

Buttons must not be stitched flat to the body of, a tail- 
ored coat. The buttons must be sewed on leaving a shank 
between the button and the cloth. 

To do this leave the thread long when sewing on the 
buttons; that is, do not pull the thread tight. When the 
button has been sewed on loosely, wrap the thread around 
and around the thread between the button and the cloth, 
thus forming the shank. 

Never allow the stitches to show on the facing. Never, 
never sew the button on through the cloth and the facing. 
Sew through cloth and canvas but stop this side of the 
facing. 

POCKETS 

The first operation in the making of a pocket is exactly 
like the procedure for a bound button-hole. (See Bound 
Button-holes, Chapter L) 

The first thing to be done is to locate the position the 
pocket will occupy upon the garment; determine its size 

and shape and mark the out- 
line on the right side of the 
cloth. 

This pocket may be 
straight across, it may be 
made lengthwise, or it may 
be half-moon shape. (See 
Diagram 6.) The pocket 
may be shaped according to 
fancy. Whatever the shape 
they are all operated in the 
same way. 

First, place the binding 

over the mark for the pocket 

with the right side of the 

DIAGRAM 6 binding next to the right side 

of the garment. 




112 The Home Dressmakers' Guide 

The material is usually called a facing when used in 
connection with pockets. It is called a binding when used 
in connection with the bound button-hole. 

Mark the size and shape of the pocket on the facing and 
put in two rows of sewing machine stitching, one on each 
side of the mark for the pocket and about % of an inch 
apart, just as was done for the bound button-hole. 

Next, cut the pocket following the mark and cutting 
through both facing and cloth. Do not cut to the ends of 
the mark, stop before the end is reached so as not to cut 
the stitching and make the corner just as was done for the 
bound button-hole. Turn the facing to the wrong side and 
baste the edges carefully. 

The facing for the pocket, unlike the bound button-hole 
is not allowed to show from the right side. Pull the facing 
until it hardly shows but do not turn any of the body of 
the cloth with the facing. 

The inside part of the pocket, or to be correct, the 
pocket itself, is in two pieces. The pocket may be any 
depth desired. Sew the front half of the pocket to the 
lower part of the facing. 

By the front half of the pocket is meant that half of the 
inside that is toward the front. It is the lower half. Sew 
this half of the pocket to the lower edge of the facing from 
the inside. 

Next stitch across the lower edge of the opening and 
pull the threads through and tie them on the inside at the 
ends of the pocket. 

The other half of the inside of the pocket is next sewed 
on. This part of the pocket must have a piece of the ma- 
terial of the coat sewed across the top to keep the lining, 
(or w^hatever the material of which the pocket is made) 
from showing through the opening. 

When this part of the pocket is thus prepared, baste 
it on to the wrong side of the coat with the piece of the 
material that has been sewed on next to the opening. This 
part of the pocket is basted to the facing above the open- 
ing. Stitch the last part on, stitching from the right side 
of the coat. This stitching also makes the finish across the 
top of the pocket. 

Sew around the edges of the two inside parts of the 
pocket and the pocket is ready to be pressed. Arrow-heads 
worked at the ends of the pockets will give a good finish. 
(See Diagram 6 showing arroiv-heads at the ends of the 
pocket.) 



The Home Dressmakers' Guide 



113 



The Flap 

A pocket with a flap like those in men's coats are made 
like the pocket just described with this exception: Just 
before the last half of the inside part of the pocket is basted 
to the facing above the opening, the flap is prepared and 
put in. 

The flap is made by cutting a piece of the material on 
the same grain as the coat, and the same length as the 
pocket but allowing for a seam all around. This flap may 
be 21/2 inches deep. 

Another piece of cloth, the same size as the flap must 
be cut for a lining. This may be silk, satin or a piece of 
the lining of the coat. 

Place the two right sides together, baste and sew with 
the sewing machine, down one side across the lower edge 
and up the other side. Turn the flap thus prepared right 
side out and press it with a warm iron. The flap is now 
ready to sew into the pocket. (See Diagram 7.) 




DIAGKA^I 



This flap may be stitched with the machine, around the 
three edges, after it has been turned. 



Examine a pocket that is well tailored. 

The flap is now put in as follows: Place the edge of 
the flap that was not sewed (this is the upper edge) inside 
the slash made for the pocket and baste it to the upper edge 
of the slash before the last half of the inside part of the 
pocket is attached. 

The machine stitching from the outside at the top of 
the opening for the pocket, is put in through the three 
thicknesses, the body of the coat, the flap and the inside 
part of the pocket. 

The inside of the pocket can then be stitched along the 
edges of the two halves and the pocket is ready to be 
pressed. 



114 The Home Dressmakers' Guide 

AMOUNT OF CLOTH AND FINDINGS REQUIRED FOR A 
TAILORED SUIT 

Cloth: 

Four yards of 54-inch cloth will make a 
regulation tailored suit for an averaged 
size woman. Two and one-half yards 
o6-inch material will be required for 
the lining. 

Findings 
Canvas: 

Two yards of tailors canvass will be 
necessary for this suit. This must be a 
soft, pliable linen canvass. It comes in 
the natural linen color or white. 

Cambric: 

One yard of cambric is needed for stay- 
ing the seams. 

Tape: 

Two bolts of white linen tape one-half 
inch wide is necessary to stay front 
edges of the coat and also to stay the 
underside of the lapel. 

Thread: 

One spool of basting cotton No. 50, two 
spools of sewing silk, letter **A", one 
spool button-hole twist, letter *'D". 

Buttons: 

Three large buttons for the front of the 
coat. A smaller size is used for trim- 
ming. Six will be enough if they are 
to be used for the sleeves only. 



The Home Dressmakers' Guide 115 

DRAPING GOWNS 

The draping of gowns presents a large subject, there 
being such a variety of styles; and yet, when we consider 
them, we find they are all created from a foundation, and 
our foundation principles applied to one embraces all. 

Our first study on this subject, however, will be : Who 
can ivear a draped gown and wear it becomingly? Only a 
tall, graceful figure can wear an elaborately draped gown. 
One less fortunate possessing a short, stout figure, or one 
who is short and slender, must be contented with a slightly 
draped garment. 

The one-piece gown that has a slight drape on the sides 
can be obtained by first cutting a foundation lining. This 
lining can be of some thin, sheer material, and may be to 
the waist line or a full length princess slip. After the lining 
has been cut and darts or seams basted in front and back, 
leaving the shoulder and under arm seam unjoined, place 
the front part of the lining flat upon the table and lay the 
cloth over it. Arrange the folds for the drapes where they 
come on the design, being reproduced, and pin in place 
carefully. 

The fullness for a drape in the full length gown must be 
caught up from the bottom before the length of the gown 
has been ascertained. Next arrange the back in the same 
manner and then join the shoulder and under arm seams 
of your foundation. 

With a little practice, using tissue paper, this line of 
work will become surprisingly easy and fascinating. 

The Elaborate Drape may be accomplished easier, giv- 
ing more artistic results, by first pinning the foundation 
lining onto a dress form, or onto the model for whom the 
gown is being constructed. Before cutting the length, or 
the size, out of the cloth, pin it carefully onto the lining, 
arrange and pin all the folds pertaining to the drapes and 
mark the size and length before taking it off the model. 
After marking the size and length, take it off the model and, 
placing it upon the table, cut it out. You will find it much 
easier to cut even lines when the gown is off the model and 
flat upon the table. 

The Bodice Drape 

Draping the bodice for an afternoon or evening gown 
is also done in a similar manner to the full length gown. 
First, cut the foundation lining, using some sheer material. 
Then place the cloth or lace, which ever it may be, over the 



116 The Home Dressmakers' Guide 



lining and arrange the folds according to the design being 
reproduced. Sometimes the length for the drape is allowed 
at the top, and at other times it is caught up from the 
waist line. Which ever way this is done, the designer may, 
with a little practice, become expert and find this part of 
the construction of gowns very enjoyable. 



Draping a Skirt 

Many of the draped skirts are very simple in the con- 
struction. The drape is just an extension allowed on the 
side seam; while others are set into the side seam in a 
manner similar to the cascade drape illustrated in Diagram 
6. When an elaborate drape is desired, it may be easier 
and save time to drape it on the model for whom the skirt 
is intended. 

The allowance for all such draping must be made at the 
top of the skirt, dropping the cloth down in graceful folds 
to conform with the design being reproduced or created. 
Before taking the skirt off the model, mark the desired 
length from the floor, using a rule, yard stick or skirt 
marker. Mark with chalk or pins and then run a basting 
thread on the marks to secure an even hem. 



CHILDREN'S CLOTHES 



I have been asked many times to conduct a course in 
Children's Dress-making. I have never been able to realize 
the necessity for doing so. The knowledge that enables one 
to make their own garmets, will, if applied to the making 
of children's clothing be just as effectual. 

When one has succeeded in making a dress for a grown 
person there will be no trouble experienced in making a 
dress for a little girl. 

The sleeves are made the same and put into the armseye 
in the same manner. The collar is attached the same. The 
seams are sewed and finished the same. Hems are turned 
and the facing is put on in the same way. 

When you know how to make a tailored suit for yourself 
you know how to make one for your boy. A coat for a boy 
and a ladies' coat are constructed and tailored alike. 

The canvas is cut and attached the same for both : The 
lapel and collar is prepared and finished in a like manner: 



The Home Dressmakers' Guide 117 

the pockets for the coat are made and finished like the 
pockets in a regular tailored suit. 

The hip pockets for the trousers are made as described 
in the foregoing chapters. The pockets are not always 
made the same shape. Examine the pockets in a boy's suit 
and it will be easily apparent how they are operated. 



T^e Blackburn System of 

Dress Cutting and Designing 



rWITH: 



THE BLACKBURN ADJUSTABLE DRAFTING DEVICE 




It is quicker, far more praetieal 
and covers more important features 
than an-g other adjustable drafting 
device or Sjpstem. of Drafting. 



WHAT THEY SAY: 



June 8, 1917. 



Blackburn's Studio, 

310 Exchange Building, 
Los Angeles, Calif. 

Dear Sir — During the past school year the Sewing Department 
of the Alhambra City High School has used the Blackburn System 
of Dress Cutting and Designing. 

We expected good results from it, or we should never have intro- 
duced it, but the results we have secured have been far beyond my 
expectations. It is one of the most practical systems that I have ever 
seen and I am glad indeed to recommend it most highly. 

Yours very truly, 

FORREST V. ROUTT, 
Principal Alhambra High School. 



The Blackburn Co. 

Dear Sirs — Simplicity and accuracy are the two words that best 
describe the Blackburn Adjustable Drafting Device. I have used it 
for some time, both to cut my own patterns and also in my business 
to design and cut gowns for others. I have found it indispensable in 
cutting accurately to measure. 

With this system I was able, profitably, to open a dressmaking 
school of my own, and had no difficulty in teaching others designing 
and cutting. The students readily became adept at pattern cutting 
owing to the simplicity of the device. 

Sincerely yours, 



411 Scripp Building, San Diego, Calif. 



ALICE C. COLLINS. 



Dssirin 

the 

Ideal 



The 
Ideal 
akuttotei 
attained 




The Book of Instructions 

Containing diagrams and illustrations, 
that comes with the Adjustable Drafting 
Device, is really a complete course in 
pattern cutting. Beginning with the first 
principles of designing, the beginner is 
taken, step by step, through the different 
stages until the ideal is realized and the 
novice has become an accomplished 
designer and cutter, and this with the 
least amount of effort. 

This course is far more complete and 
comprehensive than could be secured at 
any resident school. It embraces a 
wealth of detail, obtainable in no other 
way and is written in such simple lan- 
guage, that any woman who can read, 
may easily understand. 

Whatever may be your motive for 
seeking to learn the art of pattern cut- 
ting whether it be to make your own 
garments and thereby practice greater 
economy in the home; or, to enter the 
profession for a livelihood; or yet, to 
become enabled to teach it, as many 
dressmakers and others are successfully 
doing, and to whom we render all possi- 
ble assistance — whichever it may be, yon 
will find no other system giving the 
thorough, practical, dependable, useful — 
every-day instruction accompanying the 
Adjustable Device. 



The Device 

and the 

Complete 

Course 



will be mailed postpaid 

PRICE $15.00 



THE BLACKBURN COMPANY 

^°^ ^^^ Indianapolis, Indiana 



Home Dressmakers' Guide 

Will he mailed postpaid an^^ 
where in the United States for 

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ADDRESS 



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